Claudia Hart, ‘The Seasons’, 2009, bitforms gallery

Set to a mix of crumbling paper, The Seasons (2009) portrays a white on white room in which a slowly evolving sculptural figure gradually transforms. In this work, a seated woman in a pose of erotic abandon cycles clockwise on a rotating pedestal. As she cycles, she decomposes, a vine of roses surrounding her- blooming and then fading away. Bringing to mind the buttery visual language of a wedding cake decoration, the animation is set within a sterile room revolving counter-clockwise, as a camera pans back and forth. These movements function in counterpoint, appearing only at the edge of our perception. All is in flux but time seems to stand still, as in life.
Framed screen: 23.5 x 15 x 3.5" / 60 x 38 x 9 cm
Shelf: 16.8 x 9.6 x 3.5" / 42.5 x 24.4 x 9 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

Group Shows

Waterfall Mansion and Gallery, 
New York,

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