selection from the series of photograms "In bed with Lucy and Dolly"
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in bed with lucy and dolly No.28,, 2001, color photogram on diasec, alu. 100 x 130 cm
in bed with lucy and dolly No.3-18, 2001, color photogram on diasec, alu. 60 x 150 cm
in bed with lucy and dolly No.3,, 2000, color photogram on diasec, alu. 100 x 130 cm
in bed with lucy and dolly No.3-19, 2001, color photograms on diasec, alu. 60 x 150 cm
in
bed with lucy and dolly No.19, 2001, color
photogram on diasec, alu. 100 x 130 cm
in bed with lucy and dolly No.23, 2001, color photogram on diasec, alu. 100 x 130 cm
in bed with lucy and dolly No.35, 2003, color photogram on diasec, alu. 100 x 130 cm
in bed with lucy and dolly No.17, 2001, color photogram on diasec, alu. 100 x 130 cm
in bed with lucy and dolly No.31, 2001, color photogram on diasec, alu. 100 x 130 cm
in bed with lucy and dolly No.22, 2001, color photogram on diasec, alu. 100 x 130 cm
in bed with lucy and dolly No.15, 2001, color photogram on diasec, alu. 100 x 130 cm
in bed with lucy and dolly No.2, 2000, color photogram on diasec, alu. 100 x 130 cm
in bed with lucy and dolly, act one, 2001, scene from video-play.
In bed with Lucy and Dolly - Photograms
Mapping the temporal balance between water and air in the form of unique bubbles - which emerge as a result of dynamic systems that do not follow linear and hierarchal patterns of organizational behavior - Fried charts the fundamental economy of networks in nature. In varying chromatic tones, Fried depicts strictly non-biological membranes that evoke a strong resemblance to primordial living cells or biotech test-tube creations, and remind us of just how strong yet corruptible the architecture of life is.
Fried creates large gaseous vesicles in a totally darkened room using infrared goggles, and at the decisive moment, photograms them onto grainless color sheet-film . Specifically, using the shadows of objects –even transparent things - to make an image on photosensitive material using only light and the light sensitive material. No camera, no Lens. What we see in his enlarged c-prints are the latent shadows and spectral aberrations of these transparent forms.
The title refers to Lucy (the early hominid Mother), to us (the Myth), and to Dolly-the-sheep (the Missing Link) in a dialogue that seeks orientation in a world in which man has moved from controlling the environment to the inescapable urge to invent our predecessors. Fried takes us on a biomorphical journey from the Cambrian sea to the artificial womb.
C.C.: Would you please explain your reference in the title of the photographic works to Dolly, the first cloned sheep?
D.F.: With her arrival (Dolly), a media star was born. Suddenly everyone knew a barrier was shattered between mankind's practice of altering his environment, and mankind's attempts at re-inventing himself. Man has always looked for what separates himself from other species. For me, Dolly became the missing link, fulfilling man's need to be supreme. On the other hand, Lucy, an ancient hominid, is a woman of more uncertain origin. Although we can clearly interpret her physiological nature, the question is still posed, "How intelligent was she really?" Well, at least clever enough to eat, sleep and reproduce biologically, which is more than I can say for our predecessors. So we find ourselves in bed with our own past and future, trying to orientate ourselves to this "brave new world."
Christopher Chambers is an artist, critic, and curator based in New York City. see "interview" page for full text - English / German >>
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