Mortifications are a series of heavy plastic figurines output from a Rapid Prototype machine. Individual 3D computer models are produced via a process normal to industrial manufacturing. In the Mortifications, a realistic model of a nude is digitally "mutilated" and subjected to irregular and apparently organic deformations. By creating forms that evoke decay out of non-biodegradable ABS plastic, using a process intended to produce prototypes for mass production, the Mortifications propose a digital Baroque. Related to the intentions of the historical Baroque, the emotionally expressive, personal style of this imagery is intended to breathe irregularity and life into a conformist techno/consumer culture.
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