Richard Reddaway

Richard Reddaway

Senior lecturer, Whiti o Rehua School of Art

Richard Reddaway’s research practice draws on aspects of sculpture, installation, photography and drawing. He is currently working on constructing relationships between contemporary art, art history and cultural theory, and non-linear dynamical systems theory (or, as it is more commonly known, chaos theory), in order to construct an understanding of baroque tendencies in the contemporary visual culture of Aotearoa New Zealand.  

Reddaway currently teaches across the fine arts studio programme and into a number of research papers.

  • Expertise

    The Baroque and neo-Baroque; sculpture; installation; contemporary art history and theory; public art; and curatorial practice.

  • Research Highlights

    Under the auspices of the Aotearoa Baroque Project, which he initiated in 2009, Richard Reddaway has completed a number of research activities, including:

    El Barroco de Aotearoa (2011)
    Curated for MUCA Roma in Mexico City. The exhibition featured the work of six New Zealand artists: Catherine Bagnall, Simon Morris, Joanna Langford, Jae Hoon Lee, Terry Urbahn and Reweti Arapere. As curator, Richard Reddaway developed the project from its initial rationale through to its realisation, including gaining substantial support from Creative New Zealand and the embassies of Mexico and New Zealand. MUCA Roma is the leading museum venue for experimental art at the Universidad Nacional Autonoma de Mexico, and this project was the first significant presentation of New Zealand artists to be seen there, and, indeed, in Mexico.

    Light, Sound: Built (2009)
    An exhibition at the Jonathan Smart Gallery in Christchurch and Suite in Wellington that sought to expand the audience's sensual experience of sculpture by including audio and light elements installed in a way that exploited non-linear baroque structures.

    Chaos/appearance/baroque
    Published in Baroque Tendencies in Contemporary Art (2007),  K. A. Wacker (Ed.), UK: Cambridge Scholars Publishing, this essay develops the argument for the Baroque as a scopic regime of modernity and aligns it with complex dynamical systems theory, thereby making innovative connections between seemingly disparate knowledge fields in the sciences and arts.

  • Qualifications

    Diploma in Fine Arts (Honours) (University of Canterbury)
    MFA (RMIT)