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The Golden Shuffle

The Golden Shuffle

Sorry this event has been and gone


  • Thu 25 Aug ’11, 5:30pm – 7:30pm
  • Fri 26 Aug ’11, 10:00am – 5:00pm
  • Sat 27 Aug ’11, 12:00pm – 4:00pm
  • Tue 30 Aug ’11, 10:00am – 5:00pm
  • Wed 31 Aug ’11, 10:00am – 5:00pm
  • Thu 1 Sep ’11, 10:00am – 5:00pm
  • Fri 2 Sep ’11, 10:00am – 5:00pm
  • Sat 3 Sep ’11, 12:00pm – 4:00pm
  • Tue 6 Sep ’11, 10:00am – 5:00pm
  • Wed 7 Sep ’11, 10:00am – 5:00pm
  • Thu 8 Sep ’11, 10:00am – 5:00pm
  • Fri 9 Sep ’11, 10:00am – 5:00pm
  • Sat 10 Sep ’11, 12:00pm – 4:00pm
  • Tue 13 Sep ’11, 10:00am – 5:00pm
  • Wed 14 Sep ’11, 10:00am – 5:00pm
  • Thu 15 Sep ’11, 10:00am – 5:00pm
  • Fri 16 Sep ’11, 10:00am – 5:00pm
  • Sat 17 Sep ’11, 12:00pm – 4:00pm
  • Tue 20 Sep ’11, 10:00am – 5:00pm
  • Wed 21 Sep ’11, 10:00am – 5:00pm
  • Thu 22 Sep ’11, 10:00am – 5:00pm
  • Fri 23 Sep ’11, 10:00am – 5:00pm
  • View all sessions


St Paul St Gallery, 40 St Paul Street, Auckland CBD


All Ages

Ticket Information:

  • Free Admission


Venue website

Brydee Rood and Matthew Crookes are interested in the low status attached to certain - quite costly to produce - materials, and in ways that these materials can be redeemed and re-ascribed with value. In The Golden Shuffle, Rood and Crookes will come together to create a meditation on the culture of waste, and indeed the necessity for continued and increasing superfluity in consumer culture.

Brydee Rood is an artist whose practice approaches the shamanistic, making totem objects, assemblages and masks as well as activating the objects performance. She takes low, commonly discarded materials, rubbish and the receptacles which the rubbish is collected in and transforms them into bunting or combines them with lights. Her totemistic practice has cargo cult connotations. However, instead of attempting to obtain the 'material wealth' of post industrialised society the works ward against a society whose relationship to consumption leads to overlooking the means by which products are manufactured and the possibility of consumption having consequences.

The ritualistic possibilities of cheap plastics and two dollar shop treasure is also a feature of Matthew Crookes’ work, which ranges from small amulet-like objects strewn across the ground to aphorisms formed with plastic letters. Crookes takes the gaudy imitation opulence that flows in and out of variety shops around the world and repurposes it towards art. Yet this transubstantiation is curiously incomplete, the works do not reveal an increased value, rather the valueless nature of their base materials.

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