A Life Excavated: The Haunting World of Kaari Upson

Kaari Upson, born in San Bernardino, California, on April 22, 1970, and tragically lost to metastatic breast cancer on August 18, 2021, was an artist whose work relentlessly probed the fissures beneath the polished surface of American identity. Though often mistakenly dated as being born two years later, her life’s trajectory – a restless search for meaning within trauma, obsession, and the complexities of selfhood – unfolded with a singular intensity that left an indelible mark on contemporary art. Her early experiences in the harsh landscape of the Inland Empire, described by Joan Didion as “haunted by the Mojave,” instilled a sensitivity to the darker currents flowing beneath the veneer of suburban life. This formative environment would become a recurring motif, not merely as subject matter but as a psychological space informing her entire oeuvre. Upson’s artistic journey began with formal training at New York Studio School of Drawing, Painting and Sculpture before she returned to California to pursue both her BFA and MFA at the California Institute of the Arts (CalArts), graduating in 2007. It was during this period that the project which would define much of her career – *The Larry Project* – began to take shape.

The Genesis of “Larry”: Unearthing a Phantom Identity

In 2003, an act of trespass led Upson to an abandoned house across from her parents’ home. Within its decaying walls lay the remnants of a life—boxes filled with letters, diaries, photographs, and legal documents belonging to a man she would come to know only as “Larry.” This discovery wasn't simply a found object scenario; it was an excavation of a phantom identity, a portal into a hyper-masculine world constructed through *Playboy* fantasies, self-help gurus, and the relentless pursuit of idealized perfection. The house’s subsequent burning down solidified Upson’s resolve to reconstruct Larry’s life, not as biography but as a psychological study—a meditation on desire, power, and the fragility of the self. The project spanned seven years, evolving into paintings, sculptures, videos, installations, and performances that blurred the lines between fact and fiction, artist and subject. Upson wasn't interested in portraying Larry himself, but rather in using his fragmented existence as a lens through which to explore her own anxieties about gender, sexuality, and the American psyche. The early stages of *The Larry Project* were marked by an almost obsessive attention to detail, meticulously recreating objects and environments associated with Larry’s imagined life.

Expanding the Language: Silicone, Performance, and the Body

As Upson moved beyond the initial reconstruction phase of *The Larry Project*, her work took on a more visceral and unsettling quality. She began experimenting with silicone—a material that possessed both an alluring sensuality and a disturbing artificiality—to create prostheses of breasts and genitalia. These forms weren’t intended as representations of female anatomy, but rather as destabilizing objects that challenged conventional notions of the body and desire. The artist herself became increasingly central to her work, performing in videos and installations where she embodied different personas, switching roles with Larry, his mother, or a daughter figure. This performative aspect wasn’t about self-expression; it was about enacting psychological dramas, exploring the fluidity of identity, and confronting viewers with their own discomforts. The “Larry doll,” a life-size sculpture that appeared in various iterations throughout the project, became a potent symbol of this exploration—a malleable object onto which Upson projected her anxieties and fantasies. Her 2008 installation *The Grotto*, a fiberglass replica of the Playboy Mansion swimming pool, further amplified these themes, with projections of herself interacting with the doll within its artificial confines. This period saw Upson’s work move beyond mere investigation into a deeply personal and affecting exploration of trauma, selfhood, and the complexities of family dynamics.

Recognition and Legacy: A Singular Artistic Voice

Kaari Upson's career trajectory was marked by increasing recognition in her later years. Her 2008 exhibition at the Hammer Museum in Los Angeles, as part of their prestigious Hammer Projects series, brought *The Larry Project* to a wider audience. She participated in significant international biennials, including the Whitney Biennial and the Istanbul Biennial in 2017—years that also saw major exhibitions at the New Museum in New York City. Her work found its way into the permanent collections of esteemed institutions such as the Whitney Museum of American Art, the Museum of Contemporary Art, Los Angeles, and the Institute of Contemporary Art, Boston. Upson’s influence extends beyond her specific body of work. She challenged conventional boundaries between mediums, seamlessly blending sculpture, video, performance, and drawing into a cohesive artistic language. Her unflinching exploration of difficult themes—trauma, obsession, desire, and the American psyche—resonates deeply with contemporary audiences grappling with similar anxieties. She is remembered not only for her innovative art but also for her fierce intelligence, boundless energy, and unwavering commitment to pushing the limits of artistic expression. The work continues to be exhibited internationally, serving as a testament to her singular vision and enduring legacy. Selected Collections:

• Whitney Museum of American Art
• Museum of Contemporary Art, Los Angeles
• Institute of Contemporary Art, Boston

“The bulk of Upson’s career was devoted to a single series titled The Larry Project – paintings, installations, performances, and films inspired by a collection of one man's personal items she found in 2003.”