So Far - Charcoal on Paper - 2.5x4ft, Adrian DiLena

Adrian DiLena, an artist currently residing in Montreal, questions how masculine identity is created. Often linking the construction of masculinity with consumer culture, Adrian's work takes a self-reflective glance at how the masculine experience is created. Moreover, Adrian's art creates a realm where alternatives to the traditional male body politic.

I recently had the pleasure of curating an exhibition in which Adrian was part of. I asked him to expand on some of the questions that his art poses. Adrian suggests that his work is based off what he calls the "mechanics" (nuts and bolts) of identity. Questioning what makes us who we are, Adrian looks into the creation of identity, especially as it relates to social interactions between people and cultural institutions.

Tying ideas of the market, abundance of products, and consumption, Adrian contends that these elements seem to be intrinsic with identity. I hate the Things I want (below) depicts a male figure surrounded by his material goods. The man, his gaze connected with his phone, is alone, vulnerable with his items.

I hate the Things I want - Charcoal and Oil Paint on Paper - 6x4ft

General Mentality - Pencil and Latex on Board 3x5ft

The body plays a strong role in Adrian's work. Beginning with the idea of the body as temple, Adrian goes further and explores the idea of the body working as a stage. "The body," according to Adrian, "is the singular point of experience and autonomy. We act out the manifestations of identity whether through action or conspicuous display."

General Mentality (above) is a striking piece based from its critical nature. The figure is blind to three of his generally defined "masculine" traits: hypersexual, substance abuser, violent. This piece, exposing youth's uneasy relationship with these ideals, also causes the viewer to question where these ideals originate, essentially causing the viewer to question their own practices.

The series that Adrian exhibited in my show, Pictures of Images, offers a critical look into male-centered advertisements. Distortions 2 (pictured below) questions the relevance of pornographic imagery as a selling point. Through the commodification of female bodies, audiences are lead to believe that a product is more desirable. Through the prominence of the word "men" in this piece, Adrian explores how these images are tied with a sort of masculine "want". The absurd nature of the image (itself a picture of an image) creates an interesting parallel as the audience, once again, questions their desires and actions as they are forced to confront charged imagery.

Adrian's work is a great example for Masc as it not only sparks conversation about masculinity, it also takes a sharp jab at consumer culture, advertising, and its effect on identity. Adrian maintains a strong critical feminist background, making sure not to step into the realm of "protector", something I can certainly appreciate.

Finally, Adrian offers a bit on hindsight into how he thinks identity is constructed; "I would suggest that we are what we eat, but more specifically, we are what we consume." Images, programmes, advertisements, books, etc. helps to establish and reinforce our values. But Adrian cautions that "the ideological content we consume is produced by the few rather than the many for profit."

How do you read Adrian DiLena's art?

Click here to view more art by Adrian DiLena.

Distortions 2 - Oil on Canvas - 2.5x3.5ft

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Robert Vitulano is a critical scholar trying to undermine accepted norms and conventions. His interests lately focuses on bodies, privacy, and the law.