Sara Greenberger Rafferty’s work uses the lens of entertainment to magnify the sense of dehumanization inherent in the age of surveillance and Big Data. In the past, her practice has followed a biographical track; this includes a protracted body of work concerning itself with the late escape artist and magician Harry Houdini. After Harry, a prominent work from that time, recreates the water chamber from one of Houdini’s signature illusions; left empty save for a set of chains, ropes, and locks similar to those worn by the escape artist. Rafferty leverages the absence of the body to frame questions of autonomy, mobility, and mortality.
Sara Greenberger Rafferty’s work uses the lens of entertainment to magnify the sense of dehumanization inherent in the age of surveillance and Big Data. In the past, her practice has followed a biographical track; this includes a protracted body of work concerning itself with the late escape artist and magician Harry Houdini. After Harry, a prominent work from that time, recreates the water chamber from one of Houdini’s signature illusions; left empty save for a set of chains, ropes, and locks similar to those worn by the escape artist. Rafferty leverages the absence of the body to frame questions of autonomy, mobility, and mortality.
Sara Greenberger Rafferty’s work uses the lens of entertainment to magnify the sense of dehumanization inherent in the age of surveillance and Big Data. In the past, her practice has followed a biographical track; this includes a protracted body of work concerning itself with the late escape artist and magician Harry Houdini. After Harry, a prominent work from that time, recreates the water chamber from one of Houdini’s signature illusions; left empty save for a set of chains, ropes, and locks similar to those worn by the escape artist. Rafferty leverages the absence of the body to frame questions of autonomy, mobility, and mortality.
