Click here to go to the Brian Jungen: Strange Comfort exhibit page at the Smithsonian's National Museum of the American Indian
From Wikipedia: Brian Jungen is a Canadian artist from British Columbia with Swiss and Dunne-za First Nations ancestry; he is based in Vancouver. Jungen was born in Fort St. John, British Columbiaon April 29, 1970. He graduated from the Emily Carr Institute of Art and Design in 1992.
From The Smithsonian Institute's National Museum of the American Indian:
Brian Jungen (b. 1970, Dunne-za First Nations/Swiss-Canadian) uses mass-produced goods to make sculptures that are simultaneously fake and authentic, playful and political, common and extraordinary.
In Strange Comfort, a major exhibition organized by the National Museum of the American Indian, Jungen reassembles plastic chairs—hacked apart but still undeniably chairs—into a whale skeleton. Suitcases take the form of a possum, acrocodile, a shark. Expensive sneakers become Northwest Coast-style masks. Golf bags become totems. Jungen charges ordinary, useful objects with layers of meaning, exploring and transgressing the boundaries of what they had been and what they’ve become, riffing on Indian imagery, pop culture, consumerism, and obsession in the process.
BLANKET
TOTEMS
SHAPESHIFTER
CARAPACE
THE PRINCE
From The Smithsonian Institute's National Museum of the American Indian:Brian Jungen (b. 1970, Dunne-za First Nations/Swiss-Canadian) uses mass-produced goods to make sculptures that are simultaneously fake and authentic, playful and political, common and extraordinary.
In Strange Comfort, a major exhibition organized by the National Museum of the American Indian, Jungen reassembles plastic chairs—hacked apart but still undeniably chairs—into a whale skeleton. Suitcases take the form of a possum, acrocodile, a shark. Expensive sneakers become Northwest Coast-style masks. Golf bags become totems. Jungen charges ordinary, useful objects with layers of meaning, exploring and transgressing the boundaries of what they had been and what they’ve become, riffing on Indian imagery, pop culture, consumerism, and obsession in the process.
BLANKET
TOTEMS
SHAPESHIFTER
CARAPACE
THE PRINCE
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