In Caress, our perception of a nude female figure is split between three video monitors, portraying a life-sized character “framed” within an imprisoning box or coffin. This figure strains against its confines. The image is black and white, sculptural, and imagined in relation to tomb sculptures and the portals of Gothic churches. As a result of this scenario, the camera literally appears to caress the figure. They are both, figure and camera, locked in an embrace: camera-to-figure sex. The virtual camera slides from shot to shot over the nude, who moves slowly from pose to pose. Originally composed with the woman lying on a divan, as an odalisque, Hart subsequently removed the furniture feature to accentuate the figureʼs eerie entrapment.
3 framed screens: 15 x 23.5 x 3.5" / 38 x 60 x 9 cm, each
shelf: 3.5 x 50 x 9.6" / 9 x 42.5 x 24.4 cm
About Claudia Hart
Claudia Hart’s works juxtapose the futuristic and the classical, combining 3-D animation software with such canonical images as the nude female form and still lifes of apples. Hart presents themes of death and the inevitable ravages of time, offset by a vision of an alternate technological universe in which plastic bodies elude decay. Though patently artificial, the figures in Hart’s film installations emote in a recognizably human way as they are put through often agonizing processes involving containment and atrophy. For the series “PhotoMortifications” (2007-2009), Hart superimposed 3-D images of decomposing statues on to photographs of large modern public interiors. In a similar interplay between artifice and authenticity, “The Real and the Fake” (2011) features photographed edibles of questionable nutritional value with computer-generated images of flawless apples, inspired by the decline in the quality of food.
American, b. 1955, New York, New York, based in Chicago & New York