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Girth presents its rotund and statuesque physiques as a paper doll-like wall of flesh, stretched across a frame that curves gently outward to envelop the viewer. As noted by Patricia Rosoff in “Belly up to the Bar, Boys,” a review of the Male Body Image, an exhibition at the Contemporary Arts Gallery, University of Connecticut, Storrs, 2004:
“This sweeping phalanx of torsos … [is] mounted chest-to-eye-level on a curved wall panel that literally bellies into the space. These may be beefy fellows, but they are not beefcake. They are lived-in bodies … utterly unpretentious and anything but preening. It is their very un-loveliness that is their beauty — the humanity of their truthfulness, the craggy history of skin and follicle, of flesh and bone.”
Girth, inkjet print on translucent film, mounted on curved structure, 44” x 214” x 36”, 2001
installation views of Girth at Gallery 312, installation incorporates a 36” curve from the center of the print, 2001
detail of Girth, inkjet print on translucent film, mounted on curved structure, 2001
detail of Girth, inkjet print on translucent film, mounted on curved structure, 2001
detail of Girth, inkjet print on translucent film, mounted on curved structure, 2001
installation views of Girth at Gallery 312, installation incorporates a 36” curve from the center of the print, 2001