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dc.contributor.authorBrennand-Wood, Michael
dc.date.accessioned2018-06-29T13:17:40Z
dc.date.available2018-06-29T13:17:40Z
dc.date.issued2013-04-03
dc.identifier.urihttp://hdl.handle.net/2436/621394
dc.descriptionSolo Exhibition, 3-27 April, 2013, The Scottish Gallery
dc.description.abstractRestored and remixed is a title indicative of reinvention, the maintaining and reimagining of an idea via the employment of additive and subtractive process. Within music and textiles restoration, remixing and recycling are primal activities.Splicing, cutting, editing, patching, erasure refer in equal part to both sound and textile composition. My interest in the past revolves around its interpretation within the present; each successive generation reinterprets those ideas that have the closest affinity with their own time. The precursor to creativity is selection; the works in this exhibition are formed in part by the integration of exiting materials and objects. I'm interested in how we build an idea, via the choices we make, at what point the familiar evolves into something new and unexpected. My fascination with older, previously experienced materials is that they contain a cultural, evocative visual DNA that allows an echo of past lives to drift into the present.
dc.description.sponsorshipThe Scottish Gallery
dc.language.isoen
dc.relation.urlhttps://scottish-gallery.co.uk/images/uploads/artists/Michael_Brennand_Wood_online_catalogue.pdf
dc.titleRestored and Remixed
dc.typeExhibition
html.description.abstractRestored and remixed is a title indicative of reinvention, the maintaining and reimagining of an idea via the employment of additive and subtractive process. Within music and textiles restoration, remixing and recycling are primal activities.Splicing, cutting, editing, patching, erasure refer in equal part to both sound and textile composition. My interest in the past revolves around its interpretation within the present; each successive generation reinterprets those ideas that have the closest affinity with their own time. The precursor to creativity is selection; the works in this exhibition are formed in part by the integration of exiting materials and objects. I'm interested in how we build an idea, via the choices we make, at what point the familiar evolves into something new and unexpected. My fascination with older, previously experienced materials is that they contain a cultural, evocative visual DNA that allows an echo of past lives to drift into the present.


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