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Colette Whiten’s use of casting and photography—and her subsequent translations—are analogous functions that trace the past. Beginning with her seminal works from the 1970s, she explored and fragmented the body by casting live performers constrained in custom, wooden armatures similar to instruments of torture. The resulting plaster casts—and likewise, the structures that enabled their production—held a record of the performer’s presence just as they documented her process. Later, Whiten rendered private sentiments and fragments from the mass media into beadwork and needlepoint, creating acutely humane portraits through methodical, mindful activity. For this exhibition at Susan Hobbs Gallery, Whiten reunites elements from these practices with a series of new plaster reliefs, this time cast from hand-built positives.
In a technological age where most of our personal lives exist in the public realm—through social networking sites like Facebook and Flickr—these small portraits...More
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Press Release
Colette Whiten’s use of casting and photography—and her subsequent translations—are analogous functions that trace the past. Beginning with her seminal works from the 1970s, she explored and fragmented the body by casting live performers constrained in custom, wooden armatures similar to instruments of torture. The resulting plaster casts—and likewise, the structures that enabled their production—held a record of the performer’s presence just as they documented her process. Later, Whiten rendered private sentiments and fragments from the mass media into beadwork and needlepoint, creating acutely humane portraits through methodical, mindful activity. For this exhibition at Susan Hobbs Gallery, Whiten reunites elements from these practices with a series of new plaster reliefs, this time cast from hand-built positives.
In a technological age where most of our personal lives exist in the public realm—through social networking sites like Facebook and Flickr—these small portraits...More