The faceless body is positioned head down, as if it - or she - is attempting to climb their way up a tall, pink, microfiber-covered table (reminiscent of fast-fashion teddy coats and the exploited garment workers who create them). In Uddenberg’s CLIMBER (Pierced Rosebud), 2020 (displayed online and in a recent group show put on by KTZ and others at Wilhelm Hallen), a figure cast in aqua resin and fiberglass is proportioned to perfection according to the “Instagram standard”: a big ass, a small waist, and waif-like arms. Uddenberg’s art reflects this myopia, whether by constructing humanlike forms that render bodies into cyborgs (part-smartphone, part-silicone), or through the fabrication of “furniture-esque” sculptures, made from materials that are both performatively utilitarian and accessibly luxurious - animating questions surrounding privilege, consumerism, and gender dys/euphoria as it relates to our experiences online. Stranded, we lose sight of the horizon and surrounding landscape and instead look inward, replicating one another in our consumption habits and our performance of selfhood as a means to find validation online. Once islands that offered an escape from daily life, these archipelagos have become filter bubbles - reinforcing narratives surrounding beauty, consumption, and normative behavior. Social media, once a place of discovery and refuge, has become both a utility and a social mediator, commodifying the images and perceived identities of ourselves and others.
Courtesy of the artist and kraupa-tuskany zeidler, berlinĪfter charles ray and matthew barney, the next step for hyperrealistic sculpture reflects cyborg culture and cyberfeminism fueled by sex, narcissism, and the technological transformation of the body and brain.
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