In his practice, Carlos Bunga creates process-oriented works — performances, video, paintings, drawings, sculptures, and in situ installations. His work often involves the use of unassuming materials presented with an extreme degree of aesthetic care and delicacy.
Bunga’s in situ installation, Under the Skin, utilizes cardboard and white paint to create a juxtaposition between the Stony Island Arts Bank’s existing architecture and its ongoing restoration. Evoking the interior of a basilica, the ephemeral installation tests the verticality of the Bank’s central hall, appropriating elements of the preexisting architecture: its flooring, ceiling, and columns. Under the Skin blurs the symbolism implicit in both architectural typologies—a church and a bank—as well as the boundaries between architecture, sculpture, and painting.
At this intersection, Under the Skin also offers a space of silence, inviting us to reflect on the passage of time, on the relationships between existing power structures, and on the fragility of architecture itself.