New York artist Bill Durgin’s photographs reflect a fascination with the body as form. The complex figurations, undulating arrangements of flesh, as the body seems to collapse onto it self, image an almost abstracted figure lacking appendages and hair. The physical structure becomes not just a shell, but a moving sculpture of skin, muscle, fat, and bone.
The gesture within each photograph is created through exploring his own physical limitations and collaborative improvisation with dancers and performers. Often Durgin will come up with a pose and demonstrate it and then ask the model to repeat or respond to it. Each pose transmogrifies the figure towards abstraction; exaggerating or diminishing the skeletal structure until it approaches an amorphic form. Durgin wants the bodies to be recognized as bodies, but also to be detached from common perceptions of the figure. Bound within each singular view, the uncanny figures convey the body as both abject and marvelous.