“The Embrace” is an exquisite, intimate look at touch and tenderness.
Miles Greenberg’s medium is human limbs; his canvas is gravity. A mentee of Marina Abramovič, the 25-year-old artist is known for his large-scale, site-specific pieces that revolve around the human body, turning physicality into a kind of surrealist sculpture. There’s a poetry to the ways he uses the human body — sometimes to the extreme — to capture greater truths about humanity, such as in LEPIDOPTEROPHOBIA, where he closed himself in a Perspex box filled with flying insects.
“I don’t think the interest in the human body in art ever really changes,” Greenberg tells NYLON over email. “Whether it’s Bernini or Burden or Athey or Abramović or Young Boy Dancing Group, bodies don’t really go out of style.”Greenberg explores the bounds and beauty of human intimacy in a new way, with his latest performance piece “The Embrace.
“It was about distilling the idea of intimacy down to its simplest form using human bodies,” Greenberg explains. “I was wondering what it would look like to put that perpetual first touch of two unknown bodies on display for an audience, as though under a vitrine in a museum.” “I get annoyed when people fixate on how painful or hard my performances are. There’s so much more to talk about in my work from a critical, poetical or technical standpoint,” Greenberg says. “Sure, performing upwards of six hours isn’t easy, but it’s not that shocking. I just find people will often just default to this lazy, shallow takeaway of auto-subjugation or self-flagellation that I find really undermines me as an artist.
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