Clunie Reid uses the same approach as Barbara Kruger and Jamie Reid in that she uses the whole of the mass media only to regurgitate it, in a macerated and comically bilious style. Her work distills the very essence of pop consciousness. Using the photographic image as both her subject and media, Reid takes pictures of advertisements, newspapers, magazines, TV, and the internet, things she finds on the street, things in her studio; she even re-photographs her photos. She makes collages and drawings on them, scrawls absurd logos, spontaneous retorts to the camera’s neatly packaged imagery. And then she re-photographs them again.

When asked about her piece ‘Take No Photographs, Leave Only Ripples’, Reid stated that “The images are not enclosed thematically, they were chosen because of how they can be played off each other. I’m interested in advertising, the way in which images of bodies and objects have a relationship to the way our view of the world is constructed. By vulgarising this imagery, my work explores the hidden mechanics of image construction, highlighting things which are implicit in media.” Her work ‘She Gets Even Happier’ presents dozens of photographs, drawings, and collages on roughly cut foam-board, each humorously hung with a wire, a cartoon lingo for ‘picture’.

“I wanted to find a way to present photo images on that kind of scale, their multiplicity could also be something bigger, operate more ambitiously, be more monumental. It also allows me to go beyond the photo, to write, scrawl beyond the image, to play with something that’s a bit more autographic or direct – a bit like graffiti or vandalism.” Her consumed images are re-ordered, re-authored, and personalised, subsumed into a warped constructed identity.