CM Clemente

 

Clemente's formal language is founded on a repeated use of a material quartet. Wood, wax, concrete, and clothing. These function as a structural skeleton, upon which additional themes may be hung. Working with this material set seeks to document a paradoxical celebration and disgust of bodily physicality in an oblique, textural way.

His work conceptually considers a relationship between failure, the flesh, and consumption. Together, these aim to propose systems of an alternative transcendence. One enmeshed within the corporeal world. In Evangelical Christianity, one is not saved but rather “born again.” Both the sacred and the profane exist at the same level. It all speaks to bodies yearning for higher meaning.

 

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A mound of brown material (possibly concrete) with a hold down the middle. Rocks are poking out.

Im sorry, I love you?. 2021-2023. mixed media. Photo by Bob.

 
Another mound of brown material with a thick, red cord sticking out of the bottom. The cord is attached to a square machine with a dish on top of it.

Im sorry, I love you?. 2021-2023. mixed media. Photo by Bob.

 
A gray mound of material (possibly concrete) with a red rope spiraling down the hole in the middle.

Pimples (1-23). 2022-2023. mixed media. Photo by Bob.

 
The whole collection of brown and gray mounds. There are 23.

Pimples (1-23). 2022-2023. mixed media. Photo by Bob.

 
Two wooden planks forming a triangle with the floor. On one end is a stone, and on the other is a tennis shoe. Underneath the shoe is a large painting of a person kicking another in the face.

Benoit. 2022-2023. mixed media. Photo by Bob.

 

Benoit, 2022, single-channel video, 0:47