Daniel Faria Gallery is pleased to present Chris Curreri’s "Unruly Matter", a featured CONTACT Photography Festival exhibition.
“When is a mouth an asshole? How do we know when something ends and something else begins?
Traditional darkroom photography, like clay, requires fixing a material that is otherwise inherently malleable. A moment in time, destined to be lost forever, is decisively arrested on the negative by the action of the shutter. This capture of fleeting appearance accounts for photography’s indexical nature, its eternal betrothal to the Real.
Photographic images are inconceivable without this process of capture. As photographs, Chris Curreri’s "Kiss Portfolio" partakes in this process of capturing a real event in time – the act of two men kissing for the camera. But for the viewer encountering the work, something else happens that unfixes what was previously arrested with such perfection.
In the "Kiss" photographs, the viewer is tempted first of all to see ‘an asshole’ or ‘a vagina’ prior to seeing two mouths kissing. The images, in other words, unhinge themselves from photography’s connection to the Real, and assume for themselves an unexpected autonomy. In art-historical terms, we might describe this experience of unhinging as the artwork’s Surrealist quality. Curreri refers to this as the work’s Unruliness – its resistance to fixedness and, simultaneously, its movement towards a renewed sense of instability.
Curreri’s series of sculptures, titled Sixes and Sevens, is the product of the forceful encounter between clay pots resulting in forms reminiscent of distended balloons, flabby corpulence and proud protrusions. They have been glazed to mimic the look of clay prior to hardening in the kiln, gesturing towards a state of unruly formlessness which they refuse to give up."