About the Artist
Born 1966 in San Francisco, California
Harry Dodge has been using performance, video, sculpture, drawing and writing to create interdisciplinary work since 1993. Installations of Dodge’s drawings and sculptures are intricate webs of forms, ideas, and provocations. In the drawings, lumps and blobs appear amid Neanderthal-like human animals, bedsheet ghosts, and makeshift tools, which conjure—or sometimes discuss via thought bubbles or other linguistic forms—a cosmology related to thresholds, multiplicity, and the social strains and paradoxes of having a physical body. In Dodge’s sculptures, disparate objects are forced into each other, foam and urethane resin ooze and eventually overflow their would-be containers.
Dodge’s videos, typically a collision of profuse language and darkly humorous performance, often emphasize transitive states. Fred Can Never Be Called Bald (2011) intersperses distorted, low-resolution YouTube clips with definitions of words connected to transformation and continuum. Young men perform desperate antics, such as lighting themselves and objects on fire, while footage of threatening weather creates a sense of dread. Also for this exhibition, Dodge includes a free pamphlet, The River of the Mother of God, v.2, a meditation on fluidity, specificity and indeterminacy