“Bodies of Evidence: Living Art” is a performance piece by Trina Merry, a body painter known for live demonstrations where she paints the bodies of performers to blend into their background. Trina Merry is one of the top names in body painters today. She’s studied with renowned artists including Robert Wilson, Marina Abramovic, and Alex and Allyson Grey. Through her work, she draws the attention of audiences to their surroundings and the human body with a fresh perspective.
On May 18th and 19th of 2019, Trina Merry painted model after model to blend into the views at the J. Getty Villa in Las Angeles. Using the beautiful architecture, interesting locations featuring interior design, and gardens as the backdrop she simultaneously erases and celebrates the human body.
A common thread through all of her work is the comparison of the natural curves of the human body next to the hard lines and set patterns of architecture and objects. This particular exhibit brings it to the forefront of one’s mind as the curves of a woman’s body are decorated with the structure and pattern of her surroundings. Through the painted lines that mirror the backdrop, she blends into the view around her.
The Getty Villa features architecture and art from the ancient world of Greece and Rome. There is, perhaps, no place more fitting for Trina Merry to draw this comparison of the human form with structure. The combination of statues that celebrate the natural human body interspersed through buildings that feature perfectly symmetrical and carefully measured architecture set the groundwork for such a juxtaposition.
Through her work, Trina Merry celebrates these centuries-old pieces that speak to mankind’s longlasting fascination with the body. The statues breathe life into her work and vice versa. Once the models have been completely covered from head-to-toe, their forms continually shift in front of one’s eyes to disappear in their surroundings and emerge again moments later.
As with all of her work, Merry invites the audience to view her process. Where most artists only present the finished product of their art, Merry includes the process as part of her statement. Instead of a static installation, viewers get a performance. They are able to watch as models take on the beauty of the art and architecture that surrounds them.
Trina Merry’s work is captivating and interesting for all, no matter the experience level with visual arts. Viewers can dive deep into the discourse of the human form and the consequence of the male gaze in art history, or they can simply enjoy her mesmerizing ability to create optical illusions. All are welcomed to view and engage with the performance. With open arms, Trina Merry’s work welcomes all to be more attentive to the space around them and consider the human form from a new, beautiful perspective.