WHITE COLLAR GOES BLACK
ABOUT THE ARTIST
Kharis Kennedy’s identity as a painter is centered on consumerism, commodification and celebrity worship woven through her surroundings living in the U.S. Virgin Islands. Her exploration of animals bearing fashion-inspired logos and branding reflects a cultural and societal impetus to personally “command” an art form. Animals are free from self-reflexivity and identity politics; Kennedy humorously posits horses and snakes (both creatures which inspire and, sometimes, are actual victims of the human world of fashion) as wearing fashion-inspired logos not only as a false garment but as an organ inseparable from the being. Kennedy utilizes layers of glue and pigment to build successive surface layers, at times resembling glazed ceramic. She not only satirizes consumer culture in her practice but subverts it into depicting a permanently sinister undertone of human activity.