Carl Knight

Desperate for fast cash, Briggs Sheridan finds work in the underground world of human trafficking. A routine child abduction goes awry when his final victim cries out for his guardian "Popsy." Mr. Sheridan learns the hard way that sometimes...debt is better.

Dodie and Rachel disguise themselves as elderly women in order to buy liquor and sell it to their friends for profit.

SOS (2021) was presented as part of “This End the Sun,” on view at the New Museum from June 30–October 3, 2021. Strafer’s SOS (2021) interweaves fantastical scenes with the artist’s autobiography to address themes of human cruelty, power, and futility. The work cycles through scenes of night and day, with dolls as protagonists: a girl seemingly stranded on a snowy beach, an elderly man on a medical stretcher, and two EMTs who attend to him. Strafer employs strategies of doubling, interchangeability, and scale shifts, with large hands occasionally swooping down to animate, caress, and bathe the dolls—perhaps in acts of care and/or control. (New Museum)

This new video work is based on a true story of kinship and betrayal aboard a transatlantic air ambulance from London to Miami. Including life-size dolls and starring live actors (in order of appearance) Marti Wilkerson, Jim Fletcher, Alexandro Segade, and Cammisa Buerhaus, the video is a psychological thriller that takes place in flight—while time moves glacially, reality becomes suspended

Jordan Strafer's PEP (Process Entanglement Procedure) was exhibited at SculptureCenter as part of In Practice: Total Disbelief (2020). Strafer’s PEP (Process Entanglement Procedure) is, among other things, a video about betrayal, the public nature of victimhood, and behavioral conditioning. Its narrative spreads across at least two related timelines. In the present, the video opens onto a witness testimony at a public hearing acted out by a plastic doll in glamorous closeups. Meanwhile, sequences shot to give a handheld, first-person perspective read as composed flashbacks of events described in the hearing. Notably, these sequences include the speaker’s compulsory attendance at a makeshift behavioral bootcamp in the woods at the behest of her two fathers, who later appear as villains in realistic rubber masks. (SculptureCenter)