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anatomy
series
Technology has become the filter through which we, principally, see the world.
In fact, technology, defined as the sum of a culture’s practical knowledge,
has always been the filter through which the world is viewed and, in that sense,
this experience is not new. What I believe is new to relatively modern time,
is the belief that technology will somehow save us, that progress will change
the outcome of our existence, yet the physiological concerns of our bodies remain.
The anatomy series is a hybrid; it is portable, it is body, it is machine, it
is visceral. It collapses the anatomy of the body and the industrial machine,
both metaphorically and literally, to define its structure, to objectify and
make a commodity of the body, and approaches materials in a way that addresses
the physiology of both. This work speaks to the vain attempt to preserve my existence,
and uses materials, particularly clay, which has such a lengthy historical record
of preservation, and, plastic, a contemporary preservation material, to invoke
this dialogue.
This work attempts to examine the nature of nature, a lofty endeavor, through
the most common and mundane: the body, the discarded objects of our society,
the objects we use daily and never really consider. It attempts to address the
unspoken, the taboo, to seduce through the slick nature of the craft, to engage
in a dialogue of seduction, vulnerability, sexuality, and desire. It is in this
sense that I see this work as a modern-day Wunderkammern, a desire to bring nature
inside, to be curious and fascinated by the unknown, to examine this dialogue
in the most banal realm, the domestic. |
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