It’s not an Ass, It’s a Home
This composition is about getting ready to impress or make a joke, while simultaneously acknowledging that the act of getting ready is a joke. This work is about putting on a clown's boutonnière and flooding the room.
This composition is part of a diverse body of work by the artist that explores ways of seeing and being seen. The series is steeped in uncanny, dramaturgic tropes from stylized razzle-dazzle stage productions: the harlequin, the vanity mirror, the curtain, the clown and the mask. The artist employs this existential iconography to question the ways in which masks impact the freedom and farce of daily performance. These works ask: "Where does the stage begin and end? Is the act catharsis or trap? Is there truth at the bottom of the lie?"
Alex Kerr’s work depicts blithe scenes turned uncomfortable, distorted fun houses that examine authentic selfhood and queer identity. The artist builds dizzying, technicolor worlds using repetition and disquieting color and pattern—as well a variety of media, including oil, acrylic sheets, ceramic and wood. Kerr’s compositions employ the iconography of a stylized version of razzle-dazzle stage productions to pose important questions about freedom and the farce of daily performance, including: is there truth at the bottom of the lie?