07/26/2023
This introspective view of the world is worth seeing.
Big ups to the CAMH
Take a peek behind-the-scenes into the world of .
To make her films, Strafer often employs both dolls and human actors, reflecting her interest in the ways that dolls, masking, and other types of stand-ins can serve equally as archetypes of identity, objects of projection, and surrogates or doubles for real people. Periodically, human or silicone hands enter the frames to wipe a doll’s tear with Q-tips, or to caress and reposition it, simultaneously suggesting care, control, and containment.
In a recent interview with BOMB Magazine, Strafer opens up about her artistic style and choice of direction:
“Interchangeability is important to me: between actors and then between dolls and actors. Dolls are a practical decision, a way to make stuff with less people. I'm also attracted to them on an intuitive level. It's fun, and it feels childlike. Play is really important. I don't want to think too much while I’m working, but I do very intensely scrutinize all my decisions before and after making. Interchanging real and fake people is a storytelling device; and since most of the stories are autobiographical, I'm making decisions to take myself out of it as much as possible, because I don't want someone to see my work and think, “Oh, my God. This thing happened to Jordan.” I want them to think, “Oh, God. People are terrible.” I would rather someone think about the symbols in the work. Or, “What is up with this woman’s rash?” “Why are they on a tacky luxury air ambulance?” I would rather the autobiographical aspect be secondary.
Jordan Strafer: Trilogy will open to the public on Thursday, July 27 from 6–9PM.
For more information about this exhibit, visit: camh.org/event/jordan-strafer-trilogy/
