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06 March 2004 —
14 April 2004

Vacancy

Vacancy, 2004 (installation view)
Vacancy, 2004 (installation view)
Haruhiko Sameshima, (left to right) Chancery Street, view towards High Street, Auckland, 1996; Fanshawe Street, view towards Hobson Street, Auckland, 1996; Anzac Avenue, Auckland, 2004, Albert Street, view towards Elliot Street, Auckland, 2004, silver gelatin prints, 600mm x 1000mm each
Monique Redmond, FY [Front-Yard] Mugshots; Twelve looking tidy, 2004 (installation view), 12 LED photographic prints, 160mm x 200mm each
Monique Redmond, FY [Front-Yard] Mugshots; Six looking glamorous, 2004 (installation view), 6 LED photographic prints, 200mm x 200mm each
Monique Redmond, FY [Front-Yard] Mugshots; Four looking keen, 2004 (installation view), 4 LED photographic prints, 160mm x 200mm each
John Reynolds, The Next 60 seconds (can feel like an eternity), 2004, oil paint marker on varnish on plywood, 2400mm x 2400mm
Ron Left, Making and remaking, 2004, acrylic, oil and enamel on plywood, 2440mm x 1220mm
Ron Left, Now Then, 2004, acrylic, oil and enamel on plywood, 2440mm x 1220mm
Ron Left, Small depressions, 2004, acrylic, oil and enamel on plywood, 2440mm x 1220mm
Ron Left, Subway, coming or going, 2003, acrylic, oil and enamel on plywood, 2440mm x 1220mm
Ron Left, Who
Monique Redmond, Island Life; Spectators at Parnell, 2004, LED photographic print, 2340mm x 1200mm
Monique Redmond, Island Life; Spectators at Westmere, 2004, LED photographic print, 2405mm x 1210mm

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VACANCY presents work from six artists: Ron Left & Monique Redmond in the Iris Fisher gallery and Stella Brennan, Paul Cullen, Haru Sameshima & John Reynolds in the Studio gallery. VACANCY references carparks, street corners, backyards, busy streets, footpaths, sides of buildings, parks, office blocks, dirty windows – and explores ideas of passivity and activity, of banality and uncertainty with particular reference to sites of (supposed) passive viewing – places and processes of the ordinary and unexpected. The everyday becomes a central player in the viewing of and participation in the work. If you have ever experienced standing on a street corner, not knowing you are being watched, whilst you passively stare at the patterns on a block wall as the rest of the world passes you by, then you will have insight into how this work addresses those forgotten moments, places and spaces that alert us to experiences of the banal, the expected, and the dynamic.

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'Vacancy' publication, 2004