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L’UOMO STRANO: THE LEFT SCAPULA

The Left Scapula collection seeks to explore the past, present and future forensic anthropologies of the Black Diaspora through dialoguing with The Bell Method, an efficient and accurate scapular methodology used to estimate the sex and thus the biological profile of the deceased. More specifically, the collection is interested in imagining how such methodologies can be utilized to:

–examine the gap between estimated and biological sex created by the methodologies’ margins and measures of scientific error, and conjecture at how these precarious spaces might flex and flow in the future, to in addition accurately represent different Afro-political narratives (ex. #BlackTransLivesMatter);
–investigate potential impacts of institutionalized oppressions on the skeletal physiologies of racialized populations, particularly as it applies to the scapula, pelvis and other forensic and archaeological biological profile markers;
–metaphorically re-animate the degraded osteological collections of The Middle Passage, in order, to at least theoretically, construct a collective biological profile of this oceanic grave.

Ultimately, this study of the optimistic sovereignty of scientific methodology as it engages with Afro-temporal circuity, will look to the banal aesthetics of the skeleton, the spreadsheet, and the scale for its aesthetic character.

ARTIST BIOGRAPHY

Mic. Carter is a textile-based sculptor, whose primary interest is in exploring fashion’s relationship with post-human embodiment. In addition to design, he is also an accomplished educator, who uses art as a pedagogical moment for pushing the boundaries of how knowledge is produced or disseminated in everyday life. More specifically, Mic. believes that fashion-art is a tool of transcendence, one that has the ability to communicate, question and most interestingly, transgress beauty. This power of art to resist and redefine the tenets of aestheticism is what he finds most inspiring, particularly in fashion. Art movements/creators that actively seek to utilize these poetics of bafflement, disgust and shock are the ones that Mic. finds most attractive; the abject consistently challenges him to re-engage and push forward his understanding of art and desire (or lack thereof), especially in relation to the body. For Mic., the frame in which these creative investigations are set is heavily influenced by blackness, gender/queerness, and urban deterioration, the spaces in which he inhabits; his project themes, material and aesthetic choices reflect the Othered nature of these cultures.