An exhibition featuring consciously sourced, anatomically accurate skeletons of animals killed by automobiles to explore the intersections between humanity’s lust for technological mobility and the bewilderment of wild animals, forgotton casualities and indisputable value.
Gallery 151 presents Intersections from Brooklyn-based artist Jamie Roadkill. Jamie’s work features anatomically accurate skeletons of animals killed by automobiles. Her scenes comment on humanity’s lust for technological mobility and the bewilderment of wild and feral animals, often culminating with violent ends on roadways. Jamie processes the animals herself, finding beauty in their phantom absence, identity in their structures, and meaning in what is left of creatures that once roamed with flesh and presence. All of the bones in her work are consciously sourced and would have otherwise been discarded. The skeletons are gilded in 24k gold leaf as a means of giving these forgotten casualties indisputable value.
Aside from her focus in fine art, Jamie explores the two ultimate taboos of American society, sex and death with her couture line, Bonedage. To Jamie, sex and death serve as an intersection. She explores themes of the beginning and end of our lives: the creation of life impossible sans sex, and death impossible sans life. Many of the animals Jamie salvages have endured too much collision trauma to become fully articulated skeletons. These bones are used for Bonedage designs. She also sources bones from farm deaths, pet trade casualties, donations of deceased pets, animals euthanized by animal control, animals hunted for purpose of consumption that are not trapped, nature finds and other carefully considered sources.
Intersections presents literal images of bones and bondage. Jamie confronts the discomfort of the viewer and challenges our preconceptions of sex and death. Inspired by the rich bodies of work of Jessica Joslin, Paul Koudounaris, Sarina Brewer, and Peter Beard, Jamie courageously promotes necessary dialogue on life’s natural course and the social prejudice projected upon it, showing that it is only when we derail a familiar course that we can find ourselves at the crossroads of a new instinct.