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Auckland Central
Auckland | New Zealand

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Main Gallery

  • Madame Nolandy Returns from Africa 2012

    Maker: Sheridan Keith
    Materials: assembled and fabricated objects
    Courtesy of the artist
  • Madame Nolandy Dances for a Small Bear 2012

    Maker: Sheridan Keith
    Materials: assembled and fabricated objects
    Courtesy of the artist
  • Madame Nolandy’s bed 2012

    Maker: Sheridan Keith
    Materials: assembled objects
    Courtesy of the artist
  • Costume for the Striptease of a Soul 2012

    Maker: Sheridan Keith
    Materials: assembled and fabricated objects
    Courtesy of the artist
  • The Onlookers 2012

    Maker: Sheridan Keith
    Materials: assembled and fabricated objects
    Courtesy of the artist
  • Device to Reflect Upon Reflecting 2012

    Maker: Sheridan Keith
    Materials: assembled objects
    Courtesy of the artist
  • Puka Leaf Chandelier 2012

    Maker: Sheridan Keith
    Materials: assembled and modified objects
    Courtesy of the artist
  • Puka Leaf Chandelier 2012

    Maker: Sheridan Keith
    Materials: assembled and modified objects
    Courtesy of the artist
  • Artefact to Detect the Glint of Envy 2012

    Maker: Sheridan Keith
    Materials: assembled objects
    Courtesy of the artist
  • Apparatus to Test the Potential for Disaster 2012

    Maker: Sheridan Keith
    Materials: assembled objects
    Courtesy of the artist

Blikfang

24 November 2012 - 20 December 2012

Inspired by the notion of blikfang, a Danish word meaning ‘eye-trap', Keith investigates her ongoing enthraldom with objects both old and new, creating installations that include t-shirts, handmade textiles, 20th century art and antiques. Throughout her installation series, Keith consciously employs the concept of blikfang by playing with specific eye-catching materials: glass, wirework, mirrors, pressed brass alongside beadwork, knitted wool and remnants of tapestry. Assembled together in often unexpected combinations, these installations invite the viewer to pause and delight in the materiality of objects. As Keith writes, she wants the viewer "to meditate on the fact that mirrors reflect, that glass shatters and wirework corrodes".

Intertwined with their visual pull are the historical and personal associations materials can evoke. Keith encourages an awareness of these connotations, creating an atmosphere filled with potentially visually and emotionally charged objects. By trapping and holding the viewer's eye, Blikfang provokes a recollection of the various sentiments that we attach to the assortment of objects assembled.