The Swing (2006) features a plump nude avatar, named Machina, whose appearance is loosely based on Baroque painter Peter Paul Reuben's portraits of his wife, and personifies Rococo fleshy decadence. In this multi-channel animated installation, the character swings on a seat suspended from the sky, set inside super Mannerist slow time. Her wooded surroundings ebb and flow at another rate, imitating stop-motion, as years pass in a matter of moments. The driver of all of these cycles, but a driver scarcely in control, this female figure is a Mother Nature heading straight for what she suspects might be Oblivion.
Framed screen: 15 x 23.5 x 3.5" / 38 x 60 x 9 cm; shelf: 3.5 x 16.8 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