Kiss Portfolio, 2016
Sixes and Sevens, 2016
Musée d’art contemporain de Montréal
Formally and conceptually, Chris Curreri’s research is articulated around relational concerns: the idea that the relation to the other is not defined in terms of inherent properties, but rather by experience and mutual exchange. His works have a sensitive, often sensual character. The tactility and corporeality of his photographs, films and sculptures serve as tools to open up a dialogue with the viewer about the social fabric. Curreri’s practice also attends to the specificity of the studio, where his own production responds to material in the process of becoming. These interactions find their extension in the gallery, where visitors encounter mute material that invites them to create something new out of their own experience.
The two works presented here follow the artist’s preoccupation with the notion of queerness as an intrinsically relational concept. The series of close-up photographs of men kissing appears as an abstract composition that may recall unknown melting matter and, more broadly, sexual physicality. Paired with these images, a set of embedded clay sculptures offers an effective formal analogy. Although they lack the organic specificities of the pictured male bodies, they seem fluid, still wet and almost alive. These two series project a visual duality: while the close-up portrayal of kisses displays an abstract layout, the materiality of the clay opens on a figurative, flesh-like quality.