You enter into the piece without knowing who the body is. All you know is that it is grotesque.
“You enter into the piece without knowing who the body is. All you know is that it is grotesque.” Felandus Thames pursues the grotesque or, what he calls, “things that should never have been born.” The simultaneity of seductiveness and repulsiveness inextricably involved in any conceptualization of the grotesque permeates Thames’s oeuvre. Looking at images of medical traumas, and heavily influenced by Hans Bellmer’s “dolls,” Thames contemplates the possibilities inherent in the grotesque as well as the opportunities that archival sources offer to his artistic practice. He doesn’t simply mine the archive; he engages the narratives held within it, discovers fissures or erasures, and redefines significations through the insertion of another artist-funded narrative. The encounter he engenders is an undetermined one that allows for spectatorial wonder. It is, for all of its openness, however, a barbed encounter in which, no one remains innocent. His preoccupation with the grotesque ties artist, work, and spectator together into a collective pendulum that sways between the poles of seduction and repulsion or rather exposes the connectivity between them.