Hard plaster depicts soft and languid objects. Worlds of strange body parts and floppy interior architecture explore repressed anxieties and fantasies around bodies. The sculptures have a fantasy life of their own. They want to be about pleasure and freedom, but are somehow flawed, burdened by their materiality and oddity. The artworks are too stiff or droopy, too depressed or neurotic to get out of the house and live out their dreams. Languishing at home, the sculptures dream of follies to completely and thoroughly free the body.
We're all ghosts now, living off the trash heaps of disquietude. Fantasy and sexuality offer the possibility of freedom from the machines of immiseration. Part-object hybrids and deformations point to tensions and accommodations of the body. The viewers’ feelings about their own flesh and experiences are awakened. What is masculine or feminine or alien is constantly questioned. What is demodé or rejected is loved. Queerness is offered to everyone as an escape route from the modern condition.
Deric Carner has had solo shows at Romer Young Gallery, Trestle Projects, Four AM, Louis V E.S.P., and Tent. Rotterdam. Group shows include at FIERMAN, Radiator Gallery, Present Company, NurtureArt, Louis B James, Participant Inc., EFA Project Space, Queen's Nails Projects, Southern Exposure, Witte de With and CAC Vilnius. His piece “Touch Belly” was highlighted in Hyperallergic’s Best of 2017: Our Top 15 Brooklyn Art Shows. Carner holds a Masters from the Piet Zwart Institute, Rotterdam, NL, an MA from the University of Plymouth UK and a BFA from the University of California at Santa Cruz, CA. He is a MacDowell Fellow and an Artists Space IPG and SFAC Grant recipient.
Carner has curated exhibitions including Midtown at EFA, Ghost Chair at Hamiltonian Gallery, A Place in the Sun at EFA, A Dead Dog's Eye at Aquarius, If You Were in My Body at Fierman Gallery, Ways to Lighten Up at Splinters & Logs, The Shhh Sound Was Difficult at Louis V ESP, and Leave the Capital and Sound Device at Root Division.