Photo-mortifications are a series of photographs into which computer models of 3D digital sculptures have been integrated. In the Mortifications series, a realistic nude is mathematically mutilated, and subjected to irregular, apparently organic deformations. By juxtaposing organic forms that evoke rotting and decay with the rational permutations of computer-generated imagery, Mortifications propose a digital Baroque. Photo-mortifications integrate expressive sculptures into photos of hyper modernist buildings and museums of science and natural history. The contrast between the two conveys the denial of the human (in a vacuity without pathos and emotion) by the oppressive anonymity of bureaucratic techno-culture.
print: 42.5 x 53.5" / 108 x 135.9 cm
framed: 46.75 x 56.75" / 118.7 x 144.1 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