Heide Hatry

Becci Gallinarum Inferiores, Fibrae Pinnarum Ceti, 2011

Time remaining

closed

Details

Lot 21
Silver halide print
18.0 x 12.0 in (45.7 x 30.5 cm)
2 of 5
Signed on verso

Location

This work ships from Brooklyn, United States.


Description

In English: "Lower Beaks of Chicken, Share Fin Fiber," Hong Kong, China.

"The flowers depicted in the Not a Rose series are photographic documentations of sculptures composed mainly out of animal organs, posed in different natural environments. The photographs make the flowers appear to be “real,” so real that it is quite difficult to see that they are, in fact, constructions. They are supposed to look like simple snapshots, or at most “art photographs” of flowers. They appear convincing, in part, as a consequence of visual habit and expectation. On the one hand, beauty is certainly a universal, and unitary, concept; on the other, it is a social construct, one that changes over time and place. It is utterly useless, and yet it everywhere seems to serve ulterior purposes. The doomed effort to compel these aspects to coincide, or to make one somehow exhaust the other, is at the basis of our distrust of the concept itself, though the very tension is what [the artist] believes actually keeps it vital."
- Heide Hatry

“With this work, Hatry imbues a simple photograph of a flower with newfound meaning. The intriguing photograph is in fact a composition of animal organs strategically reconstructed. The work cleverly derives its title from the Latin translation of “offal.” By transforming chicken beaks into an eight-pointed flower with shark fin fibers at the center, Hatry’s work challenges the boundaries between life and death in a macabre but romantic way. The transformation of the offal is a metaphor for life: beautiful and delicate, with the latent shadow of death. The work is grotesque yet seductive and challenges the Victorian-era view of death and sex as unseemly aspects of life. Traditionally, flowers are used for pleasure, while animals are sources of sustenance. The work ultimately prompts the question: why is a flower, dead after being cut, considered more beautiful than an animal killed for food?”
-Nicole Garnett, student at Sotheby’s Institute of Art, M.A. Art Business, New York


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