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Bradley Corman:
New
Works
Corman's
New
Work flaunts more of his intellectual savvy as it relates to
formal
design with his "Untitled Installation." In this piece, undisclosed pills
of
various shape and color are enlarged to exactly two thousand times
life-size
and are placed in a 6 x 6 grid on the gallery wall. Like his other works,
the
interest for Corman lies in the pills formal design and the fact that each
was
created with a clear Aesthetic intent that subverts the reality of
the
conditions under which the pill is required or taken recreationally.
The
pills, in the pseudo-pop context they are presented, do not reveal
their
intents or purposes beyond that design. The images serve the
viewer
individually, inciting them towards fantasy or horror depending on the
viewer's
personal experience dealing or not dealing with pharmaceuticals. The
larger-than
life format brings to attention the omnipresence of pills for everything,
the
identities we create for them, and how they influence our
own.
(Above:
Untitled Installation, 2010, archival
digital print, 20" x 20" each)
(Below: He Said, She Said, 2010, enamel on panel,
40" x 40" each)
for press release and high
resolution images
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Cara Cole: An
Immortality of Bliss
 
Cole
writes of her work, "I love the fact that sexual and religious
transportment echo each other. How ecstasy, that elevated sensation of
bliss, is simultaneously carnal and spiritual. Bernini's The Ecstasy of
St. Teresa (her head is thrown back, face upturned towards the heavens,
lips parted, eyes softly closed--so similar to my own carnal angels) is
based on the swooning nuns own writing: 'I saw in his hand a long spear
of gold...He appeared to me to be thrusting it at times into my heart,
and to pierce my very entrails; when he drew it out, he seemed to draw
them out also, and to leave me all on fire with a great love of GOd.
The
pain was so great, that it made me moan; and yet so surpassing was the
sweetness of this excessive pain, that I could not wish to be rid of
it.'"
While
An
Immortality of Bliss is a slight
departure from Cole's previous series
which
largely confront issues of death and mortality, the artist throughout
consciously
confronts certain inescapable characteristics of photography. Literary
theorist
Susan Sontag describes that, "to take a photograph is to participate in
another
person's mortality, vulnerability, mutability. Precisely by slicing out
this
moment and freezing it, all photographs testify to time's relentless melt."
An
Immortality of Bliss engages that
element implicit in the
medium
directly rather than allowing it to serve as subordinate to the image.
(Above: Cupids Lips and Humid Glow, 2010, archival digital prints,
34" x 36" each)
for press release
and high resolution images
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