Whitehot Magazine
March 2025
"The Best Art In The World"
"The Best Art In The World"
March 2025
Inside Brian Andrew Whiteley’s HUMAN PETTING ZOO: Interview by Brittany Wherry
By BRITTANY WHERRY August 18, 2024
I had the privilege of connecting with acclaimed visual artist Brian Andrew Whiteley during his latest immersive art installation, "Human Petting Zoo," held at the Invisible Dog Art Center. This expansive venue was transformed into a captivating and surreal environment, featuring dismembered plushie fountains spewing into colorful kiddie pools, mesmerizing projection art, pulsating synth music, and a cascade of bubbles—all encapsulated within a stark, plastic-wrapped kill room. Fresh from a wrestling event in Times Square, Whiteley had just celebrated the unveiling of a striking billboard featuring his likeness in Brooklyn, a testament to his growing prominence in the art world.
Whiteley is no stranger to controversy; his provocative works include a notorious tombstone dedicated to Donald Trump, which landed him on a Secret Service watchlist, and a legal tussle with Justin Bieber for allegedly impersonating the pop star while selling art in his name. He even ignited the creepy clown phenomenon that captivated—and unsettled—masses. It was invigorating to discover that his latest endeavor continues to push boundaries, maintaining the same frenetic energy and eccentricity for which he is known.
How did Human Petting Zoo and its cast of characters come to be?
During a recent visit to Times Square, I had a bewildering encounter with a group of Disney character impersonators. Clad in the colorful garb of my own clown persona, Cuddles, I was suddenly engulfed by this mob of costumed figures. In a startling display of hostility, they approached me and aggressively accused me of soliciting money from the crowd. Their actions included lifting their masks to shout at me, which was both surreal and disorienting, prompting questions about the inherent contradictions within such a beloved cultural phenomenon. How could something designed to evoke joy turn menacing in an instant?
This unexpected confrontation unveiled layers of complexity within character culture, illuminating the darker nuances that often lie obscured behind the cheerful exterior. It was in that moment of chaos that the concept for the "Human Petting Zoo" began to crystallize. I became fascinated with the psychological underpinnings of this culture and the intricate dynamics that blur the lines between audience and participant. Furthermore, I sought to explore the multifaceted experience of art—how we engage with it on both sensory and emotional levels.
Determined to give life to this concept, I designed an immersive play experience known as the Human Petting Zoo (HPZ). Upon entering, guests are greeted by oversized plush character sculptures, which evoke feelings of comfort and nostalgia through playful interactions such as gentle sprays of water, the soft caress of fans, and whimsical bubbles floating in the air. Participants are encouraged to engage fully with the sculptures—jumping into shallow pools, feeding one another fresh fruits, and reveling in the shared joy of play.
As the evening unfolds, however, a subtle shift occurs. While the interactions initially seem light-hearted, an underlying tension begins to surface, revealing the more sinister aspects of the playful plush figures that surround them. The immersive environment, initially inviting, gradually exposes a more malevolent side, challenging guests to confront the duality of innocence and menace inherent in character culture. Through this experience, I aim to provoke contemplation about the nature of performance, identity, and the complexities woven into our collective love for such cultural icons. The Human Petting Zoo thus serves as both a space for joy and a mirror reflecting the darker currents that swirl beneath the surface of familiarity and affection.
Your body of work encompasses a wide range of topics, from eerie clown sightings and a strong painting practice to legal issues with Justin Bieber and the Secret Service investigation linked to Donald Trump’s tombstone. How does Human Petting Zoo fit within the context of your previous projects?
The Human Petting Zoo is a compelling and integral addition to the overarching narrative of my artistic oeuvre. Upon closer examination, one can discern subtle echoes of previous projects interwoven throughout the fabric of this installment—evidence of a continuous dialogue with my past works. This installation is irresistibly captivating, infused with an undercurrent of the macabre that invokes a tension between optimism and pessimism, creating a complex emotional landscape for viewers to navigate.
This marks my third large-scale immersive experience at The Invisible Dog Art Center, a venue that has become a significant platform for my artistic exploration. In terms of execution, there are notable parallels to my earlier installations, particularly the oversized sculptures from my Clown Land installation at Spring/Break in New York, as well as the haunting elements of Ghoulish Gestures at the Bakehouse Art Center in Miami. Additionally, my Summer Camp Slaughter installation at the Wassaic Project employed projections on plastic to craft a visceral "kill room," a concept I have reimagined within the context of the Human Petting Zoo.
Through this project, my approach to installation and design has evolved, inspiring me with fresh ideas for future endeavors. The Human Petting Zoo is not merely a continuation of my previous works; it represents a significant leap forward in my artistic practice, challenging me to explore new dimensions within the immersive experience while maintaining a profound connection to the themes I have long grappled with.
In Human Petting Zoo, the characters resemble cartoon mascots that could easily have come from a children's TV show or a carnival sideshow before being suspended. Is there an overarching narrative that connects them all, or does each character operate independently?
The characters in this installation undeniably evoke vivid memories of my childhood birthday celebrations at Chuck-E-Cheese in Upstate New York. In a sense, the entire experience serves as a poignant remnant, a haunting echo of a simpler time now lost to the passage of years. It embodies a fantasy slowly succumbing to the ravages of reality, a powerful metaphor for the adult struggle to retain the innocence of childhood while the cruelties of life erode the essence of that little boy within.
I find it particularly intriguing how, with the passage of time, these costume characters—once figures of friendship and heroism—transform into symbols laden with ambiguity, becoming either sexualized caricatures or malevolent forces. This transformation begs exploration, and for me, translating them into dynamic, actionable sculptures was essential. Infusing them with a sense of movement not only imbued them with purpose but also breathed life into their existence. The notion that these sculptures could physically engage the viewer, perhaps even compellingly ‘grabbing’ them, introduced an exhilarating layer of interaction.
The installation comprises four vignettes, each depicting distinct actions intertwined with elements such as bubbles, fountains, and wind. While the underlying narrative remains consistent—a dark scenario of dismemberment within the confines of a murderer’s kill room—the juxtaposition of such horror against the relentless pulse of entertainment adds a chilling irony. Guests are invited to immerse themselves in this uncanny world; the music throbs and reverberates, creating an atmosphere that is simultaneously familiar yet utterly dissonant. As participants navigate this surreal landscape, they are confronted with the juxtaposition of childhood nostalgia and adult disillusionment, forging a complex emotional experience that lingers long after they depart.
Given the large, open space of The Invisible Dog, I’d like to know more about how you arrived at the overall layout and design of the show.
The expansive nature of the space presented an exciting challenge, prompting me to think on a grand scale. In my creative process, I developed around 12 distinct drawings and layouts before finalizing the design that truly captured the essence of what I envisioned. My primary goal was to carefully segment the various experiences, allowing spectators to fully immerse themselves in each narrative moment. I aspired for them to genuinely engage with the journeys of each character, contemplating the emotions and events that shaped their stories.
To enhance this experience, I incorporated captivating projection art that enveloped the audience, reinforcing the characters' presence and magnifying their significance. As visitors approached the exhibition, they were greeted by enchanting entrance projections flanking the two doors, designed to create a sense of complete immersion before they stepped into the unfolding narrative.
Amid the unfolding stories, I envisioned the garden as a tranquil oasis—a moment of reprieve where visitors could pause, reflect, and absorb the rich tapestry of experiences surrounding them. This thoughtful integration of design elements ensured that each visitor's journey through the exhibition would be both impactful and memorable.
The space is immersed in a blend of ambient noise and drones, interspersed with melodic moments. Can you share insights about the soundscape and your collaboration with Brian Wenner?
Brian Wenner and I have worked together in the past. Our processes overlap in a very dynamic way. I shared my vision, we shared music, discussed ideas and pushed the concept to where it needed to go. Sonically, the man is next level and is a major heavy hitter in the noise scene. For this edition I also brought in keyboardist Brittany Anjou to perform synth and vocals. She augmented Wenner's score in a beautiful and haunting way. Most of the show is improvised with both artists honing in on the vibrations from the atmosphere and the sculptures. It was absolute bliss.
The characters and the large projected videos of them are incredibly intricate. Are there any specific details or hidden messages that you wish visitors would discover?
Absolutely! The projections in the installation are intentionally designed to enhance the physical presence and significance of the characters. They engage in playful choreography, each character subtly waving, drawing the audience into their vibrant world. I am particularly enamored with the LED glowing eyes and the dynamic lighting effects that complement the video work, creating an immersive visual experience.
The backdrop features a meticulously transformed collection of obscure VHS video art, setting a distinct vibe infused with a vintage aesthetic. This choice pays homage to an era that I was deeply passionate about—early handheld camera footage from the 1990s. The rawness and imperfections of these videos, marked by discoloration and a rough edge, reflect an authenticity that resonates with my artistic vision. For me, art embodies what we deem significant, and in this exhibition, I have deliberately drawn inspiration from those aesthetics.
Additionally, I’ve embedded a charming Easter egg within the installation: a poster of a work by the legendary Frank Frazetta, prominently displayed in the Human Petting Zoo. Frazetta was a master of fantasy art known for his provocative imagery—think powerful women riding dragons and iconic representations of characters like Conan the Barbarian. The poster, taped to the wall as a nostalgic nod to my childhood bedroom, encapsulates the spirit of discovery and excitement that came with possessing such bold artwork. It symbolizes the “dragon” I am pursuing with the Human Petting Zoo—a quest for unabashed expression and the exploration of enticing fantasies.
—What are some of your other current and upcoming projects?
I have ambitious projects in the pipeline and am working on a museum show. I am very excited about what’s to come next. Aside from my studio work I will be pushing the celebrated SATELLITE Art Fair, an artist-run art fair that is now in its 10th year. We are building a community of creatives and championing unbridled expression in all forms. WM
WM
Whitehot writes about the best art in the world - founded by artist Noah Becker in 2005.
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