Tony Oursler has used the medium of film to create his own unique sculptural aesthetic, taking the images out of the television box and making them function in three-dimensional space. A recurrent theme in Oursler’s work is the way in which visual technologies influence and even modify our social and psychological selves. His practice continuously engages with popular culture and questions how systems of mechanical reproduction, like photography, film and television, have come to dictate not only the way we see the world, but also the ways that images are constructed. Ourlser’s formal vocabulary is deceptively simple, employing objects of everyday life, both high and low, that range from kitsch to folk art, and investing them with a new aesthetic meaning. A key feature of his work is the ways in which the human body comes into play. On one level the body is employed in a very literal sense through the projection of fragmented and alienating body parts onto fibreglass forms. On another level the body functions through the encounter with the work. Oursler’s scenarios constantly invoke the very human wish to lose oneself in fantasy.
Tony Oursler’s work is quite creepy to me, the almost disfigured heads that he projects onto small cloth bodies remind me of nightmares and horror films. Some of his work, like the projected installation Garden, doesn’t have the same reaction, it is more relaxing and nice to look at. But it still like all of his work, draws me in to have a closer look. This is what I want to happen when my installation is up, I want people to move close to the suspended photographs to study them closely. I want the suspended photographs to move in the wind created when people walk past them. Looking at how other artists have placed their installations is really helping me in the production of my work. I can tell Oursler thought a lot about how he was going to show his work before he created it, I will be doing the same thing so it can inform the production of my work.