This exhibition is an evocative reminder of those Sunday arvos spent with your mates, hanging locally in your suburban havens. Your seats are constructed from the nearest found objects, your sneakers double as fine china and the blurred images that stain your phone’s camera roll are reminiscent of those vivid nights coated in a haze of youth, laughter and early hour experimentations.
Gillian Kayrooz is an emerging artist whose cross disciplinary practice challenges the commercialization of suburbia, culture and tradition in the digital age.
Currently studying her honours degree at the Sydney College of the Arts while majoring in Screen Arts, Kayrooz examines her practice’s potential to appropriate reality revealing the documentative and identity driven origins of her practice which has been presented across Australia and East-Asia.
She has exhibited at The Museum of Contemporary Art, Verge Gallery, The Red Rattler Theatre, AIRspace projects, ES74 Gallery and the Sydney College of the Arts. She has recently completed residency at the Chengdu Academy of Fine arts in China where she exhibited her work.
Hot Girl Grotty Kebab is as saucy as it gets. This exhibition is an evocative reminder of those Sunday arvos spent with your mates, hanging locally in your suburban havens. Your seats are constructed from the nearest found objects, your sneakers double as fine china and the blurred images that stain your phone’s camera roll are reminiscent of those vivid nights coated in a haze of youth, laughter and early hour experimentations.
Combining the banal with the extraordinary, Hot Girl Grotty Kebab is a collection of experimental video installations, sculpture and photo-textile pieces reflecting on personal moments of youth within suburbia. Kayrooz plays with the ability for distortion to create a candid and truthful reflection of reality more than the perfect image itself.
Her ceramic sneakers, mimetic of fine china, represent the ‘shoey’ drinking phenomenon whilst also referencing how the everyday sneaker has risen to a status of extremely high value. Kayrooz’s video distortion further represents the state of affairs in a post-internet age, where over-saturated colours, edits, and graphics evoke the sensations of being besieged by the spectacle of the internet, and of capitalism. The excess of Kayrooz’s visual motifs reflect current state of inundation of brands and labels.
The everyday items that have been reinvented for the gallery combat the commercialization of our most basic needs. Depicting how our reality is increasingly a stylized reflection of a constant material performance. Fascinated by the persistent commercialization of the perfect image within the everyday, Kayrooz’s work plays with the temporalities of the blurred image in her photo-textile works, mimicking the sentiments of theorist Hito Steyerl who reflects how the “blurred image has liberated itself from the strains of the perfect image, freed from maximum resolution and perfection.” Kayrooz’s video installations pronounce an ability for video technology to interact in the physical realm beyond the screen and defines how the digital is no longer just a novelty of the everyday but a tool which has preempted a new age of communication, observation and identification.
Hot Girl Grotty Kebab destroys the pre-emulative and anticipatory algorithms that constantly survey our every moment, creating a body of work which presents an undeniably honest and sincere representation of the contemporary and in particular, the lives within our current Australian youth culture.
Gillian Kayrooz is an emerging artist whose cross disciplinary practice challenges the commercialization of suburbia, culture and tradition in the digital age.
Currently studying her honours degree at the Sydney College of the Arts while majoring in Screen Arts, Kayrooz examines her practice’s potential to appropriate reality revealing the documentative and identity driven origins of her practice which has been presented across Australia and East-Asia.
She has exhibited at The Museum of Contemporary Art, Verge Gallery, The Red Rattler Theatre, AIRspace projects, ES74 Gallery and the Sydney College of the Arts. She has recently completed residency at the Chengdu Academy of Fine arts in China where she exhibited her work.
Hot Girl Grotty Kebab is as saucy as it gets. This exhibition is an evocative reminder of those Sunday arvos spent with your mates, hanging locally in your suburban havens. Your seats are constructed from the nearest found objects, your sneakers double as fine china and the blurred images that stain your phone’s camera roll are reminiscent of those vivid nights coated in a haze of youth, laughter and early hour experimentations.
Combining the banal with the extraordinary, Hot Girl Grotty Kebab is a collection of experimental video installations, sculpture and photo-textile pieces reflecting on personal moments of youth within suburbia. Kayrooz plays with the ability for distortion to create a candid and truthful reflection of reality more than the perfect image itself.
Her ceramic sneakers, mimetic of fine china, represent the ‘shoey’ drinking phenomenon whilst also referencing how the everyday sneaker has risen to a status of extremely high value. Kayrooz’s video distortion further represents the state of affairs in a post-internet age, where over-saturated colours, edits, and graphics evoke the sensations of being besieged by the spectacle of the internet, and of capitalism. The excess of Kayrooz’s visual motifs reflect current state of inundation of brands and labels.
The everyday items that have been reinvented for the gallery combat the commercialization of our most basic needs. Depicting how our reality is increasingly a stylized reflection of a constant material performance. Fascinated by the persistent commercialization of the perfect image within the everyday, Kayrooz’s work plays with the temporalities of the blurred image in her photo-textile works, mimicking the sentiments of theorist Hito Steyerl who reflects how the “blurred image has liberated itself from the strains of the perfect image, freed from maximum resolution and perfection.” Kayrooz’s video installations pronounce an ability for video technology to interact in the physical realm beyond the screen and defines how the digital is no longer just a novelty of the everyday but a tool which has preempted a new age of communication, observation and identification.
Hot Girl Grotty Kebab destroys the pre-emulative and anticipatory algorithms that constantly survey our every moment, creating a body of work which presents an undeniably honest and sincere representation of the contemporary and in particular, the lives within our current Australian youth culture.
