Mary Skrenta

filmed by Sahar Fadaian, edited by Jason Elizondo 

music: Sigur Rós

dripping,  oozing

The real.


liberation from repression


            restraint  and release.


I am interested not in what art is, but what it does.

I am exploring notions of value and desire in an attempt to reflect the uncomfortable complexity of the  human animal. I am provoked by cultural conditioning that trains us to value an artificial version of the human state.

I am a Materialsmith.

My unconventional forms are the product of an unconventional process using unconventional materials.

Anticipation during tense moments pushes the limits of materials as humans should push the boundaries of convention. Industrial and commercial materials are transformed into strange forms, somewhat alien—sometimes sensuous, sometimes unnerving—pulsing beneath gossamer skins, either real or digitally manipulated.

Strained tension…dripping, stretching, A process marked by the uncontrollable, pushing limits, surrendering to chaos, planting the seed.

My most recent body of work revolves around a central theme of value, specifically related to the body and sex. I reference hidden body parts, secrets tucked away, diffused or veiled just as we sugar coat the uncomfortable. I reference the body, especially sexually suggestive imagery and  forms, yet allow for abstract interpretation so the viewer questions their perspective and opinion. The use of both “disgusting” and “beautiful” materials furthers this examination of cultural value.

Pig intestine.

Gold.

The transformation of materials mimics the transformation of a psychological state in response to cultural and societal influences. Social constructs press upon us; when we can bear no more we press back or explode.


bulge / push / resist / break through


Raw materials brought to the breaking point. Points of tension now visible in the forms, the product resembles a more perfect version of itself, almost belying its chaotic beginnings. 

Using Format