ARTIST RESUME

Samantha Adelberg

The human body comes preassembled. High percentages of DNA sequences between human account for similarities in form and development amongst most. Despite differences in genomes which presents variations in the human body, our brains are still able to identify humans as humans. My work presents recognizable human forms in unrecognizable assemblages; connecting joints and limbs in that shouldn’t be put together. I yearn to bring up a dialogue that allows for people to discuss what distinctly makes us humans and what unifies us.  

My work mostly employs the use of oil paints slathered on board or canvas. The viscosity of the paint varies throughout the painting process. At points, it’s thick, like the skin that covers one’s bones. At other points it may be thin and laid down in washes, like a light veil. I want my

paintings to feel like three dimensional forms that breath and come to life on a flat surface. In order to keep the focus on the figure, the backgrounds are kept as chromatic greys. Occasionally my work will include small scale sculptures, body assemblages presented in physical tangible masses of plastilina or polymer clay.

The figures used in the pieces are pulled from models, stock photos, magazines, and historical works. The whole form or just bits and pieces of limbs can be used in my pieces. They’re overlapped, initially projected onto the canvas from my computer and placed with a graphite pencil. From there, I use the paint to decide what aspects of the bodies or what limbs to keep, and where to make new fleshy connection to join the bodies. I try to use as many body parts and limbs as possible without the space feeling too crowded or overwhelming.

Starting from a young age, I had a very dysmorphic view of my body. I used to fixate on how others looked and would compare myself to them, ranking my long torso and short legs to other “more ideal” proportions as a way of deeming my worthiness as a human. The idea that there is no perfect human form is one that I’ve only began to grasp within the past few years. Everyone has an imperfect body, and if evolutionarily bodies started turning into the forms that I present in my work, they would still be the bodies of humans. That is what I want my work to emulate.

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