Kristan Saloky

Residency: Scribus 08

28 March – 9 May 2013

kristan 1

Percutaneous Apparitions, duratran 75 x 50 cm, 2012

kristan 2

Gargalesis (Do We Not Laugh?), installation, four-channel looped video and sound installation, 2011

Kristan Saloky (Philadelphia, Pennsylvania) is a performance-based media artist, whose practice includes live performance, video, photography and sound. Her current research encompasses post-modern phenomenology, feminist studies, film studies, and the history of the body in advertising, art, and science.

Using awkward framing, and strange viewpoints, Kristan Saloky’s practice transforms the way we view and understand the corporeal body through digital video and photography. She does not work specifically in self-portraiture, but her practice is very much concerned with an indefinable notion of “Self”—one that resides in the fissures of binary identifications: subject/object, self/other, male/female, passive/aggressive, reality/artifice, and controlled/uncontrollable. Using her own body as a vehicle for research, her work explores not only the limits of the body, but also, the limits of how we view the body, especially female bodies. Her performances, videos, and photographs each explore issues of obsession, vanity, desire and self-infliction.She experiments with the ways in which to offer up her body for the viewer. She regards her videos as being placed outside the screen space, inhabiting the realm of sculpture – for example, using heavy cube monitors and flat screens as a substitute for a living subject. In Gargalesis (Do We Not Laugh?), she created a televisual body, broken up and trapped within the screen space. A body out of control with laughter, but constrained by the screen, the figure and her plight were both familiar and strange. Similarly, in Can’t you see? There’s glass between us, the female figure is trapped within the screen space, challenging her position as a static object to be viewed behind glass.

During her residency at ArtFunkl Saloky has continued to investigate her female human body through digital imaging practices, specifically through aseries of videos based on the aethestics of bodily movement. This output is similar to her previous videos, however she has experimented with presentation, devising new ways to portray this bodily transformation to viewers via projections and sculptural screens to further abstract the body from its source and to challenge viewers to see and understand the human body in a different way.