Jeremy Kost collages Polaroids, splintered by jerking disregard for perspectival continuity, to ground the notorious outlandishness of New York’s club kids and drag queens. Marsha, Marsha Monster Mellow That Is… (2010) portrays Marsha Monster Mellow, a Pittsburgh personality, perched upon a utility kitchen sink. The white frames of the Polaroids cut and expand upon bleached details, warping Marsha into a prismatic motley crew of emotion and angles. I Caught Mommy Kissing Santa Claus (Rainblo) (2010) zooms in and out of a trailer park scene, splicing the details. Kost’s experimentation with depth, angles, and quantities of flash reinforces a style of Cubism based in reality, a disjointed yet cohesive standpoint of entire environments. Serving to give us every angle of overstated glamour, the extroverted characters jump from the wall while being mangled by skewed morsels of detail. Kost’s images are otherworldly, pulsating with a scrambled intensity that formulates and contorts reality.

Click here for the full review, written by Lynn Maliszewski.