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| Carrick Bell – | Video |
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| Get to the Chopper | ||||
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Get to the Chopper - 1 Video Still 2009 |
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Get to the Chopper - 2 Video Still 2009 |
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Get to the Chopper - 3 Video Still 2009 |
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Get to the Chopper - 4 Video Still 2009 |
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Get to the Chopper - 5 Video Still 2009 |
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| Trees Hide a Multitude of Sins | ||||
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Trees Hide a Multitude of Sins - 1 Video Still 2009 |
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Trees Hide a Multitude of Sins - 2 Video Still 2009 |
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Trees Hide a Multitude of Sins - 3 Video Still 2009 |
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Trees Hide a Multitude of Sins - 4 Video Still 2009 |
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Trees Hide a Multitude of Sins - 5 Video Still 2009 |
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Trees Hide a Multitude of Sins - 6 Video Still 2009 |
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Trees Hide a Multitude of Sins - 7 Video Still 2009 |
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Trees Hide a Multitude of Sins - 8 Video Still 2009 |
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Trees Hide a Multitude of Sins - 9 Video Still 2009 |
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Trees Hide a Multitude of Sins - 10 Video Still 2009 |
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Trees Hide a Multitude of Sins - 11 Video Still 2009 |
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Trees Hide a Multitude of Sins - 12 Video Still 2009 |
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Trees Hide a Multitude of Sins - 13 Video Still 2009 |
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Trees Hide a Multitude of Sins - 14 Video Still 2009 |
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Trees Hide a Multitude of Sins - 15 Video Still 2009 |
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Trees Hide a Multitude of Sins - 16 Video Still 2009 |
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Trees Hide a Multitude of Sins - 17 Video Still 2009 |
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Trees Hide a Multitude of Sins - 18 Video Still 2009 |
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Trees Hide a Multitude of Sins - 19 Video Still 2009 |
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Trees Hide a Multitude of Sins - 20 Video Still 2009 |
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General Statement I make video work that attempts to negotiate between narrative and abstraction through depictions of solitary humans within natural landscapes. Straddling the divide between sincerity and distance, it develops from my own ambivalence regarding pleasure derived from the visual contemplation of natural landscapes, and the skeptical enjoyment of the impossibility of this pleasure. I borrow from both the tradition of performance for video, and the narrative tactics of mainstream cinema. I perform situations with implied or softened expressions of aggression and violence, and question the limits and desirability of bodily identification through video. Landscape traditionally functions as a silent enforcer of subjective authority, supporting sovereignty through analogy and metaphor. When the subject is located in landscape itself, and the activities engaged in specifically reference relations of power and aggression, the subjugation of landscape to a particular narrative of socio-political sovereignty becomes suspect. This same skepticism applies to the historic sublime; to move away from the original nationalist and religious connotations of the historic sublime, I worked with a technological sublime, deploying outdated or stereotyped editing techniques to reproduce, from a critical perspective, the power dynamics inherent in representing the natural sublime. Gesturing toward the stilted movement and foreboding of B-horror movies and the relentless strobe of the dance floor, these techniques aimed to wrench the sublime away from any unmediated experience of nature, while also reminding the viewer of the unwavering visual and visceral components of the sublime. |
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Biography Carrick Bell graduated from the School of the Art Institute of Chicago's Sculpture Department in 2008 with a Master of Fine Arts. Having taught for Northwestern University's Sculpture Department, he currently lives and works in Berlin. |
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| Exhibition Catalog | ||||
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