Millers O’Brien Gallery


Caitlin Devoy
Display
15 – 30 November


Millers O'Brien Art Gallery Wellington Caitlin Devoy

Be My Dessert, 2019. Silicone, acrylic and wood. 950 x 650 x 940mm



Millers O'Brien Art Gallery Wellington Caitlin Devoy

Wall Hung (Pink), 2019. Silicone and acrylic. Length: 13”



Millers O'Brien Art Gallery Wellington Caitlin Devoy

Play (Pale and Black). Install



Millers O'Brien Art Gallery Wellington Caitlin Devoy

Play (Pale), 2019. Silicone and acrylic. 310 x 350 x 1200mm



Millers O'Brien Art Gallery Wellington Caitlin Devoy

Play (Pale), 2019. (Detail). Silicone and acrylic. 310 x 350 x 1200mm



Millers O'Brien Art Gallery Wellington Caitlin Devoy

Install



Millers O'Brien Art Gallery Wellington Caitlin Devoy

Have A Seat (2), 2019. Rubber, silicone, acrylic and wood. 1820 x 440 x 570mm



Millers O'Brien Art Gallery Wellington Caitlin Devoy

Have A Seat (2), 2019. (Detail). Rubber, silicone, acrylic and wood. 1820 x 440 x 570mm



Millers O'Brien Art Gallery Wellington Caitlin Devoy

Install



Millers O'Brien Art Gallery Wellington Caitlin Devoy

Wall Hung (Black), 2019. Silicone and acrylic. Length: 13”



Millers O'Brien Art Gallery Wellington Caitlin Devoy

Wall Hung (Pale), 2019. Silicone and acrylic. Length: 13”



Millers O'Brien Art Gallery Wellington Caitlin Devoy

Cream (small) (Pale), 2019. Silicone. Part of Be My Dessert



Millers O'Brien Art Gallery Wellington Caitlin Devoy

Jelly (Bleached), 2019. Rubber. Part of Be My Dessert



Millers O'Brien Art Gallery Wellington Caitlin Devoy

Install



Millers O'Brien Art Gallery Wellington Caitlin Devoy

Play (Black), 2019. Rubber and acrylic. 310 x 350 x 1200mm



Millers O'Brien Art Gallery Wellington Caitlin Devoy

Install



Millers O'Brien Art Gallery Wellington Caitlin Devoy

Mayonnaise (Pale), 2019. Silicone



Millers O'Brien Art Gallery Wellington Caitlin Devoy

Cream (small) (Pink), 2019. Rubber and acrylic



Caitlin’s sculpture-based practice deploys the seductive potential of materiality to engage with questions around sexuality, objectification and power. Everyday objects — sauce bottles, cream canisters, recorders — stand in for body-parts and are employed humorously to subvert the tradition of the male nude. Caitlin’s work also plays with the gallery/museum display case, which typically aims to create a sealed space, protected from the viewers touch. Instead, objects literally penetrate the display cases, poking fun at partitioning the intellectual and the bodily, tempting the viewer.