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PROFILE: JENNIFER MEHIGAN

“Long live the new flesh.”

This last bit of dialogue from James Woods’ character in David Cronenberg’s 1983 sci-fi film Videodrome not only lends a phrase to one of Jennifer Mehigan’s art exhibits (2014’s NUFLESH), but it also describes one’s first experience with the artwork of Mehigan quite accurately. Mehigan’s art presents all the attributes necessary to be deemed “the new flesh” – on an artistic level, that is.

Born in Ireland and educated in Australia and Singapore, Mehigan’s work is the result of traditional artistic methods colliding into the warehouse of the digital, leaving Virtual Debris rolling around in the audience’s mind. Her blending of the artistic “old flesh” and “new flesh” produces densely textural and vivid pieces – imagine if Van Gogh’s Starry Night was made of latex and, painted by a man who frequented BDSM dungeons.

Mehigan coined the term “cybersensuality” to describe her artistic style of combining thick, latex-ridden imagery with guns, satellite probes, bananas, knives and other phallic images. Her artwork, particularly her video-collage series entitled Cybersensuality truly does delves into the realm of the carnal urges possessed by one’s subconscious. Mehigan establishes certain juxtaposition among the phallic images she presents, as she injects a pastel-pink, Tumblr-bad-girl feel to the dripping, fluorescent cum shots and flexing, hairy abdomens she so meticulously thrusts together.

Mehigan has presented her solo exhibits NUFLESH (2014) and EAT U UP (2015) in Singapore, at Latent Spaces and the Substation Gallery, respectively.

Text by PATRICK LABA

EAT UP UP II (2015)

NUFLESH (2014)