Wednesday, June 22, 2016

Tuesday, March 8, 2016

Satch Hoyt

Satch Hoyt, born in London, currently lives and works in Berlin.

He makes sculptures and installations accompanied with sound as well as paintings and drawings.

This installation is called "Celestial Vessel".

Is a canoe made from 1950s RCA Victor Red Seal 45rpm records that represents the voyage from Africa to the Americas and the importance of music in holding different cultures together during the slave trade. The boat form refers to modes of dispersion, especially eighteenth-century accounts of canoes which were used to transport captured Africans from the inland to coastal slave markets. But it also reads as a ghost ship ready to carry us between realms, from the harsh realities of the physical world to the promise of the afterlife. The red records act as an imaginary archive that speaks to the critical role of music as a means to transmit information and bring people together, as well as to the hardships that African American jazz artists endured in the music industry during the segregated 1950s.

As a mixed race youth growing up in London in the 1960s and early 1970s, Hoyt would eagerly await the arrival of the latest US imports at the record store. It was not only a place to discover new music, but an outlet to another world, where records informed him of the social and political climate in the African American community and helped him shape his personal identity. Hoyt brings his sculpture to life with his sound composition, which samples the records on this canoe and beyond to collage together the richly diverse sounds of Africa, North and South America, and Europe.

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Saturday, November 21, 2015

Monday, November 9, 2015


A vinyl record is a sound storage medium that was developed in the early 20th century. people would place the pieces onto the top of a gramophone and gently secure the needle onto its rotating contours so they could listen to their favorite musicians. because of this action, people began to form a connection with their discs, keeping them in pristine condition within their sleeves. since then, time has passed and technology has advanced, labeling vinyl records as ‘retro’ or ‘old school’. bringing back this nostalgia, upstairs shop has taken old vinyl records and applied them to a comb design called ‘grably’

the grooming accessory is available in two versions. the first, called ‘no.15′, has been created with thick teeth and increased spacing between them so they can handle the rugged terrain of curly beards. the second, called ‘no.20′, is the wide tooth comb which features thinner spikes placed closer together within its dimensions for longer hair. decorating each surface are a series of rings that have been maintained in ode to the material’s previous function. simultaneously, this deliberate preservation provides enables a firm grip as the product is in use.


Tuesday, May 6, 2014

Keith Haynes

Keith Haynes (b.London 1963) presents bright and dynamic artworks created using a precious collection of vinyl records which have been re-worked and re-shaped into colourful, bold and familiar snapshots of pop culture, the result is a playful and nostalgic exploration of music and pop culture from his past to the present day.

Keith’s work is noteworthy for his interesting choice of materials, creating works from the ‘clutter’ of pop culture - button badges, CDs or, more uniquely, vinyl records. Whether it’s a graphically iconic portrait or a meaningful song lyric each piece is created from original vinyl records chosen to enhance the subject matter; Haynes considers the subject and the object to be of equal importance within his practice.


Thursday, June 13, 2013

Pamela Gaunt


Object Gallery, Sydney 2001
Left: Disc-grace Photocopied acetate, thread, found materials
Right: Disc-grace High pressure jet-water cut vinyl records
Each: 1.25mts x 2.5mts
Photo: Rob Frith, Acorn Photo Agency

Created for the exhibition Lace - contemporary perspectives, the piece Disc-lace/Disc-grace is configured in two half circles, divided by the corner of a room. Both sections make reference to Renaissance lace patterns, one utilizing layered photocopied acetate circles and machine embroidery and the others lace pattern is industrially cut into the artist’s collection of vinyl records. This work reflects the artist’s tendency to reinvent traditional patterns by developing processes that are intended to blur disciplinary boundaries and challenge conventions and hierarchies of practice.