2020 Grad Show

Raewyn Reid

AUArts Grad Show Reid_ArtistPhoto 2

Drawing

My artwork investigates the politics of LGBTQ2SIA+ identities and the complex historical narratives that continue to orient queer bodies as “other” with respect to the dominant society.
The ready-made assemblages I create consist of found domestic objects that have been rejected in some way. My materials are outliers acquired in thrift stores, back alleys, and resell furniture warehouses. I slightly alter and reorient them as a means of undercutting their utilitarian expectations as things to be used up, worn down, or relegated to the closets and cabinets of the traditional family home.

Board of Governors Graduating Student Award Recipient - Drawing

Myrt's Beauty Parlour (2020)

All that remains of Myrt’s Beauty Parlour, a popular gay bar in Calgary in the 1970s, is a parking lot and the memories of those who used to find refuge there. This installation is comprised of debris taken from Myrt’s original location, complete with a video projection of a reversed night-time recording of the street it used to face. Cars move backward across the space as viewers shadows are projected into the scene and a dreary rendition of The Rainbow Connection (the last song Myrt’s would play before closing each night) plays in the background.

Does Your Father Know? (2019)

Found ironing board, artificial plants

The Lavender Door (2019)

The threshold of A Women’s Place Bookstore - a queer feminist space that was once located in Calgary’s Beltline area - was marked by a lavender door. During the 1980s the store’s owner would smuggle LGBTQ2SIA+ books across the US border into Canada to be sold at A Women’s Place, knowing they’d be confiscated by Canadian Customs Officials if they were ordered and shipped by mail.

Today there is little evidence that such a space ever existed in Calgary, circumscribing A Women’s Place Bookstore primarily to the oral histories of those who once found community there.

The War Had Come and Gone (2020)

Found photo collages

Chastity Belt (2020)

ATTENTION: MANAGEMENT IS NOT RESPONSIBLE FOR LOST OR STOLEN PROPERTY

Between Two (2020)

A fleshy pink veneer coats stubbled knock-kneed legs and shrugging shoulders...

This stand-a-lone-lonely-loner is on the fence - a whole split in two. They are between two posts. What’s between them and you?

Hard Knocks (2019)

Rocks, nylon socks, spraypaint, pumps

Requisitions (2019)

[rek-wuh-zish-uh n]
noun

1. a request or demand, especially an authoritative or formal one

2. an official form on which such a demand is made

3. the act of taking something over, especially temporarily for military or public use in time of emergency

4. a necessary or essential condition; requisite

Attack of the 5ft Rug Muncher (2020)

Attack of the 5ft Rug Muncher is a satirical nod to the film Attack of the 50ft Woman (1958), directed by Nathan Hertz. The layers of found carpet used in this piece are soiled with a legacy of spilled drinks, grit, and cigar smoke. I am interested in the queer potential of its residual stains and smells as markers of a burdensome history that is viscerally present, yet altogether unknowable. By drawing a parallel between this sculpture and Hertz’s poignant representation of monstrous feminine agency, I am attempting to humorously probe at a cultural history that continues to cast queer/ feminist politics and desires as horrifying, dangerous, and irrational.