Daniel Faria Gallery is proud to announce the purchase of Chris Curreri’s triptych by the Art Gallery of Ontario at this year’s Art Toronto 2011.
This particular piece by Curreri is an excerpt from his most recent show, Something,Something, which took place this year at the University of Toronto Art Centre as part of Toronto’s annual Contact festival. Anne Macdonald describes this particular work in her review for C magazine,
“In the most recent work in the show, a triptych titled Model in the Sculptor’s Studio (2010), the vase has been replaced by a piece of black pvc tubing. The human figure is presented this time against the romantic disarray of a sculpture studio. The light is soft, directional, and warm enough to suggest a sun setting somewhere nearby. In this classical scenario, the naked body becomes the nude proper. A familiar kind of beauty is at play and it is hard not to be drawn in by it. The only thing stopping us is the piece of cheap, unlovely pvc tubing, which re- appears in two images and then disappears uncannily in the third.
In the central image of the triptych, the model is bent at the hip, folded over the PVC tube, which is wedged tight into the place where the body hinges. His hands grasp at the base of the wooden dolly on which he stands, betraying the effort of the contortion. Forced between his chest and his thigh, the tube becomes a lens or a peephole that pierces the body, allowing us to see through to the space behind. In a second image, the model is crouched low on the platform, body folded around an arm that is punched through the same black tube.
In the last image, the model’s back is flat to the camera. He is slumped in such a way that his arms, legs and head are invisible. The pose turns the body into an odd mass of flesh, cleaved only by the line of the spine and the ass. If the first two images depict a body that is trying to ingest or merge in some way with the plastic ocular device, then the third provides us with the result of this merger. The body has become the short, squat equivalent of the tube, which is otherwise absent from the image. The romance of the setting and the lighting remain, but the classical body has been swapped for a truncated, hybrid thing that is unsettling in its formlessness.”
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