<p>巴西雕塑家通過向現代主義大師致敬，從而更好地表達他們。</p>

Evan Moffitt

Erika Verzutti對藝術史的熱忱永無止境

<p>My work develops&nbsp;from thinking about ways photographic imagery can enter formal, sculptural, and material relevance. I am interested in ways the body intersects with form, often proposing an antithetical to the indexical nature of photography. Meditating and thinking about photography is a rich source of inspiration for me. I am drawn to the self-reflexivity of photography. The recording of a trace. Its precarious position as a record-keeper and archive, as well as its ability to sting as we acknowledge our own ambivalence with time.</p><div><div><div><p>There are politics of embodiment and looking, which are at the core of my work.</p><div><div><div><p>My sister is my model and I use her because she is physically similar to me. She becomes a stand-in for myself, which allows for my simultaneous position as viewer and object. For me, photography is abundant in its association with desire and affectation. In viewing, desire is initiated. Conversely, desire unearths self-consciousness as one views oneself from the position of the other. This mirroring is something that is unique to photography, as it invites our participation as we imagine ourselves objects of the gaze.</p></div></div></div></div></div></div>

<p>My family immigrated from Iran to Ohio when I was very young. I live with a hyperawareness of my body, which I attribute to growing up thinking of it as a politically charged location. For me, the body is a site that is both familiar and strange. Due to COVID, we are all in a different relationship with our bodies and&nbsp;have new boundaries and protocol as to how we move through space. This loss of freedom feels like something I was already negotiating from a young age. For me, the body becomes a site of stratified consciousness. Assemblage becomes a metaphor for this.</p><div><div><div><p>I have been making works using silver gelatin photographs, ceramic, string, and other ephemera. I am interested in exploring my own subjectivity through a vocabulary of various objects, photographs, and associations made between these items. The taxonomy of images includes the figure as well as objects (sometimes nameable, sometimes not) found in the home or studio. For me, string has an association with time and what was once traditional women’s work. It also carries an association with mapping or guiding (think of Ariadne saving Theseus by providing her love with a sword and a ball of thread so he could retrace his way out of the labyrinth of the Minotaur). Ceramic and wood pieces become appendages and, in essence, finish the body like an exquisite corpse. There is a structural dependence between the frame (which&nbsp;I make in studio) and the interior image. The container and contained existing in equilibrium.</p></div></div></div>

<p>Harris’ original montage was a composition of hundreds of photographs and newspaper clippings, many of them sourced from his 2001 photographic essay on racism in Italian soccer for <em style="background-color: initial;">The New York Times Magazine </em>(Harris previously worked as a magazine photographer), interspersed with pictures of the artist’s own earlier works and artworks from the canon, such as <strong>Gustave Courbet</strong>’s <em style="background-color: initial;">L’Origine du monde</em> (1866). Between underwear ads, a&nbsp;<a href="https://www.artbasel.com/catalog/artist/6731/Jean-Michel-Basquiat">Basquiat&nbsp;</a>painting, and a McDonald’s french fries container, these elements are joined mostly in incongruity, though seen through Harris’ eye for gendered and racial subtexts: how everyone in a stadium audience is white, for instance, and if soccer resembles bullfighting, with the players more bulls than matadors.</p><p>The dense network of content is organized around a striking centerpiece: an Adidas ad showing a young Black man giving French soccer player Zinedine Zidane a pedicure. Harris had come across this picture in another experience of frisson a few years earlier, when he recognized in it an uncanny resemblance to <strong>Édouard Manet</strong>’s painting <em>Olympia </em>(1863) of a Black female servant receding into the background of a portrait of a naked white woman. The ad contains the same element of fetishization, though here of white masculinity, accompanied by an unthinking exhibition of racial disparity. In Harris’ <em>Ready-Made </em>(2001) and several other works this image is punctuated with yellow jets of dried semen – always emphasizing and complicating the tensions of racial difference and sexual sameness barely disguised in the original.&nbsp;</p>

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