Cyborg Hybrid \'cy·borg 'hi·brid\ n
: anything derived from heterogeneous sources,
or composed of elements of different or incongruous kinds.
: cybernetic + organism, a person whose physical
abilities are extended beyond normal human limitations by machine
For KC Adams, the intersection of organic technological and
socio-cultural evolutions presents a realm of speculative invention.
With Cyborg Hybrids, she presents a wholly different perspective of
our possible future while holding a mirror to our collective past.
In Cyborg Hybrids, Adams presents a cross cultural, as well as
bio-technologic ideal, an intriguing interplay of contemporary race
politics and analytical detachment. Her portraits are, at once
beautiful, sensuous and powerful, compelling and somewhat
threatening (depending on your politics) visions of an indigenous
hybrid world. Theirs is an Indigeneity based on strength (power),
unity, persistence and survival.
These cyborgs obviously inhabit a much different reality than we’re
used to seeing in futurist theoretics and sci-fi narratives. Adams
seeks to inhabit the world of the trans-biological and of
manufactured “idols” with a radical indigeneity. All Adams’ models
are of mixed Aboriginal and European ancestry. In her words, “the
subjects are Euro-Aboriginal artists who are forward thinkers;
plugged in with technology.”
Her use of theatrical staging give her portraits a contemporary,
celebrity feel that belies their subversive and specific political
edge. Her puns and double entendres, hand beaded and chosen by her
subjects, speak to a shared politic in a way that is layered with
cultural significance and poignancy.
And, Adams has gone further and created a range of “cyborg hybrid
accessories” to complement her portraits and animate them. She
employs the marketing strategies of “lifestyle technology” so common
today. She takes our current obsession with portable, and personal
technology (i-everything) and subverts it to her own deliciously
Her choice of white, as an aesthetic as well as histori-cultural
choice posits a post-victim stance and articulates a clearly
anti-colonial perspective to the purposefully “cover girl” ( or guy)
style of the photographs and the hip-ness of the accessories. Here,
she presents two contemporary phenomenon; the hybridization (or
“half-breed-ing”) of culture and our obsession with technology and
wraps them in a glitzy and beautiful package, but with a sharp
political and satiric edge.