David Correa American, b. 1999

Works
  • Oblivion
    Oblivion
  • Death Catalyst Gloves, ca
    Death Catalyst Gloves, ca
  • Death Catalyst Tyvek Suit, Fuel Bladder Tyvek Suit, The Fool’s Tyvek Suit
    Death Catalyst Tyvek Suit, Fuel Bladder Tyvek Suit, The Fool’s Tyvek Suit
  • Death Veil 01
    Death Veil 01
  • The Machining of the Fool - still 1
    The Machining of the Fool - still 1
  • The Machining of the Fool- Framed Still,
    The Machining of the Fool- Framed Still,
  • Vestigial Limb V4 and Feeding Tanks
    Vestigial Limb V4 and Feeding Tanks
  • Vestigial Limb V5
    Vestigial Limb V5
  • Weeping A Petroleum Lubricant - Framed Still
    Weeping A Petroleum Lubricant - Framed Still
  • Weeping a Petroleum Lubricant - portrait 2
    Weeping a Petroleum Lubricant - portrait 2
Biography
David Correa
Through performance, film, poetry, objects, and imagery, David Correa’s (b. 1999, Miami, FL) multi-faceted art practice paints surreal and elaborate narratives exploring and satirizing modern man’s existential relationship to the tool and the self.
Contextualized through collective aspects of Latin American situationism, Correa further informs these narratives by referencing political theory, mythology, art history, and philosophy, creating networks of ideologies which depict the Latin laborer as an absurdist figure. Through these systems of thought, Correa grounds the internal combustion engine as a focal point within his work. Industrialization has blurred the lines between operator and tool, and consequently, task and purpose. While actively exploring these relationships through his time-based work, Correa’s presentation of ephemera as sculpture furthers this investigation by humanizing and memorializing the tool. The equipment and garments utilized in Correa’s performances are presented as relics. Glass, steel, aluminum, plastics, and found objects become framing tools encasing and immortalizing the soiled garment, the wear of a machine, or the portrait of the laborer. Through this questioning of hierarchies, death and non-functionality become interchangeable.
Exhibitions
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