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The Machines Have Not Taken Over: A Conversation with Richard Dupont
by Christopher Hart Chambers

Richard Dupont’s sculptures are essentially warped-out, three-dimensional photocopies of himself. These eerie, distorted, hi-tech self-portraits seem stretched by the time/space continuum to varying degrees, from barely recognizable blurs to attenuated or distended humanoid oddities. As viewers, we physically enter that same disconcertingly surreal realm, like a cinematic fantasy of traveling through a worm hole. The artist’s cold, unknowable, corporeal presence stares out at us from deep within his cast plastic doppelgangers. These entrancing and unsettling objects are equally striking for their overt technical mastery, which only enhances their spell.


Terminal Stage, 2007-08. Digital rendering of installation at Lever House, New York.

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