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Born: 1973, NYC
Resides: Queens
Project room, Sandroni Rey, Venice,CA, 2001
Ghost Stories, curated by CaseyMcKinney, Sandroni Rey, Venice,CA, 2001
Two friends and so on, Andrew Kreps Gallery, NYC, 2000
The Searchers, curated by Robert Longo, Artists Space, NYC, 1999
Minty, curated by Bruce Hainley, Richard Telles, Los Angeles, 1999
Terra Bomba - A performance view of installation, Exit Art, NYC, 1997
Reviews-"Terra Bomba", RoseLee Goldberg, Art Forum, April 1997
MFA, Yale School of Art, 2000
BFA, Parsons School of Design, 1995
I was born in New York City and as a result have always been aware of living in a box. Add to this my height of 6'8", and you have what some might call a hypersensitivity to space. After years of doing performances where my body was the central focus of my art practice, the architecture of the interior slowly took over as the main point of departure. In my recent videos, latent sexuality and supernatural horror fuse into one entity. Through the use of digital video effects and flat-footed collage, my truncated body is duplicated and fused together forming a nightmarish "double" of myself. This spliced torso writhes in crawlspaces and on office furniture, unable to escape from its predicament. Often times the architecture of these interiors becomes equally warped as composite views are joined to form a complete image. Furthering the idea of composites and collage, the videos are presented in the form of fragments or vignettes. (Some influences for this work are the short films of Kenneth Anger and J.K.Huysmans's Against Nature, both of which incorporate the fragment as a storytelling device.)
The disjointed figures are sometimes accompanied by mysterious telekinetic forces, which cause everyday objects to spin and crash. It is unclear whether the fused body is responsible for this or if it too is a victim of an unseen force. Behind the veil of these sensational phenomena lie the four walls of the room (bedroom, porn set, office, artist's studio). These walls form a cave-like environment whose sole purpose is to contain and comfort the distressed occupant. Much like a proscenium or empty stage, these spaces become charged with their own presence and are the true subjects of the work, despite the frequent bisections and intrusions of the body.
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ALL IMAGES © Adam Putnam
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