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Multi screen video projection exploring speech using children’s games as a focus. Specifically, how individuals speak the same letters forming words in our own language but these are eminently different depending on our cultural and geographical upbringing. The models speak in a variety of mother tongues, all who have played this game in their respective cultures.
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'Visions of the Invisible'
The series titled O.S. Forms (from ‘Ordnance and Survey’) refers to the common metaphor of the body as landscape. This has been especially prominent in the history modernist discourse of photography in the work of the female nude by Edward Weston and Bill Brandt.
Read prudently avoids any reference to this clichéd patriarchal tradition. In a complex procedure Read playfully subjects a largely taboo part of the body, the navel, to the motions of codification. In this way, the mapping of the body is mirrored in a manner that defines its entrance into culture'.
From essay by Ruth Pelzer Montada, 'Superficial or Inherent' catalogue 2003.
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Julie Read's art is based on ideas of existence, who we are and what makes us different to the next person, something that fascinates many.
She aims to produce objects/images that intrigue the viewer that are accessible to an audience, to draw upon their personal interpretations and experiences to fully engage in the work. The strength of the work is in the subtle allusion rather than in an obvious manner.
Working with a variety of media - printmaking, digital print also installation, video. photography and light. Much of the work reflects upon the historical tradition of portraiture, as an important genre in art history and explores the potential of this in the 21st century.
Her work takes its cue from the classic format of photography that signals identity, that of portraiture, using the body, language, land and memory.
'Skin' (left) and 'O.S. form no.1' (right)
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