Family Sting

A pin punctures the sole

My god, thank you it’s not me today

as I stand on the cold floor

forgetting I’m already dead.


My memory sharpens

and my toes curl

as the needle sinks in too far

to forget what you said all those days ago.

Cold bitterness scrapes my cheeks

and I huddle

I’m a muddle HA HA HA

Now it’s the same Krapp scenario as the tape bleeds.


A girl stares

Again I’m punctured

Oh the banality of hopeful forgetfulness.

Punctured again

My soul

Punctured, ruptured, again.

My forgetfulness reminds me of you

Punctured again, my soul remains

Punctured, my soul remains



On the cold floor I stand







All Money is Dirty


Image above: Of reform and social inequality (detail) 2013 Andy Reeve.

All Money is Dirty is Andy Reeve’s second solo exhibition since graduating from Norwich University College of the Arts in 2012.

This exhibition looks at some of the problems facing artists in today’s difficult economic climate as well as notions of value in art. Reeve uses a variety of methods to pose questions of value not just in his work but also in his self. ‘Expected Year of Mortality’ ( can be seen as a morbid piece; however it does demonstrate one of the fundamental issues affecting any artist living or dead. There are many people making money from art, but more often than not it is not the artist.

Reeve’s view is rather laissez-faire. He does not make art for money, but is entirely aware of the contradictions that arise from making artwork that is for sale. In this sense he likes to play with the viewer’s thoughts; in a sense teasing, but never arrogantly pursuing. Cutting into existing works or currency may be considered vandalism, but it forces us to question the works’ value before and after Reeve’s intervention. Signalling further experimentation and the continual development of his art practice is the exhibiting of documentation to illustrate the absurdity for an artist seeking shows in London and elsewhere.

What is the value of an artwork if there is already some form of currency that has been used to make or develop it?

Does an existing artwork increase or decrease in value because an artist dictates price or can the value of an artwork only be decided by time and the eventual death of the artist(s) responsible for its existence?

Is it irresponsible to cut up money and use it for art when one has no other money at all?

The banknote artworks reappropriate the portraits found on the current £5, £10 and £20 notes issued by the Bank of England. The portraits of Elizabeth Fry, Charles Darwin, and Adam Smith are given precedence, whilst the remaining pieces of the banknotes are also exhibited. It is entirely possible to acquire all three pieces of one note and reattach it together to have a valid banknote. It may also be possible to send the majority of the banknote back to the Bank of England to be reimbursed although this must be properly considered.

This raises an interesting point about the works’ perceived or actual value. Is it worth more as money or as art? Is it worth anything at all?

Reeve believes that almost any work of art is in some way a self-portrait. When one considers this it may be that the works are worth more than what is seen.

All Money is Dirty is on show at ‘Art in the Underbelly’ at The Rumsey Wells, St. Andrews Street, Norwich. The gallery is open Tuesday to Saturday 12 – 3pm.

(Click on the following link for details about Art in the Underbelly

(Click the following link for Google Map view for The Rumsey Wells:

Artist Statement

My artist statement evolves along with my work; as the work develops the statement may need to be adjusted. The statement can often be useful in guiding the work along during those moments of multiple neurobiological inconsistencies. Such occasions are to be celebrated. Enabling movement creates lucidity.

Existing artworks transformed by processes affecting the material, subject, and outcome.

My current art practice explores common values in art by hand-cutting into found art objects; transforming and re-presenting them as my own this process questions both my and the original artist’s role as well as criticising interpretations of the financial and historical values placed on art. The work can, on occasion, be specific to an exhibition’s location or context and seeks to question the economics of the art market, and bourgeoisie attitudes towards art.

Some of the artwork features a value, in written form, hand-cut from the canvas – this is important as hand-cutting the value relates to traditional drawing and painting skills – and in some cases this is the selling price of the work. A deliberately polarising statement…Can the work be worth the value cut from it? Maybe the work becomes more or less valuable before, during or after my involvement. Whatever questions are asked there appears to be a definite value attached to the work through my involvement and forms only a part of the dialogues that may be raised.

Amusing and possible outcomes from this body of work could be if any of them are resold for a figure higher or lower than that cut out of the canvas, e.g. a work with £2000 cut from then resold for £500 or £3000

Other artworks being produced involve recycling some of my earlier paintings that have been exhibited elsewhere. Deconstructing these works and reconstructing them as new artworks presents a unique opportunity to see how an artist directs their evolving artistic practice and output.