T

he virtual media society consumes in immense amounts daily is the main theme of Claudia Bitran’s practice. From pop culture references to viral videos the work is produce in a humorous way to 

showcase the darkness and violence behind the technological advancements introduced to our society.

“Humor allows so many other nuances to come up and ways to start conversations that are difficult to talk about.”

In her appropriation of Brittany Spears and The Titanic, Bitran uses gathered, discarded materials to construct her costumes, backdrops, and props. She wishes to speak about pop culture in an epic way to highlight themes of social class, violence, and death. Within her reconstruction of the Titanic she casts all different types of people as well as using all different types of mediums to reconstruct the film. She enjoys learning and working with all the different materials, people, and settings. Just within the kissing scene on the bow of the Titanic Bitran casted 25 different Jacks to kiss as she play the permeant role of the protagonist Rose.

Bitran admits to getting tired of working with the same content and sometimes working with people. When she has the ability to work independently she focuses on creating works that can be seen as social commentary. In her site specific installation White Shoes Bitran has life sized teens to show the privilege of  clean white shoes and the disconnect from society as the teens are looking down at their phones. Her current works in the exhibitions Fallen and Frenzy are constructed by breaking down viral videos of drunken woman to the individual stills. Bitran paints each still to construct a stop motion animation, to depict the brutality these woman’s falling, and vomiting bodies go through just to be viral. The advancements in technology presents a vehicle for violence to progress, but that progression has also allowed for the Me Too movement and other conversations to be started.

“we are so numb to the violence done to these woman's bodies”

"CLAUDIA BITRAN: FRENZY" MARCH 2020, NEW YORK
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