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The reel identity project
The fine-art industry, in many ways, thrives on the commodification of persona—where the artist’s story is often as valuable as their work. The myth-making is part of the allure.
Joseph Beuys wove a tale of survival, claiming that he was rescued from a WWII plane crash by Tartars who nursed him back to health with felt and fat—materials that later defined his art. Frida Kahlo adjusted her birth year to align with the Mexican Revolution, making history itself a part of her identity. Damien Hirst staged an elaborate fiction at the 2017 Venice Biennale, presenting sculptures as “ancient treasures” supposedly recovered from an East African shipwreck. Nat Tate, a forgotten Abstract Expressionist, burned nearly all his work before leaping to his death from a ferry—except he never existed, a fabrication by novelist William Boyd. And Marina Abramović has recounted her early life with dramatic, almost mythical intensity.
Each of these artists blurred the line between fact and fiction, crafting narratives that fed their art and its reception. These are true lies—not just inspirations, but justifications for the Reel Identity Project.
This is the invitation that went out to writers and collaborators:
“Now, it’s your turn. I invite you to create my artist biography. Tell my story. Shape my myth. After all, what is art without a little fiction?”
Writers who have contributed to this project:
Exploring the reel identity project, an interview with the artist.