Having grown up chubby and misunderstood in Miami, Kerri Scharlin now takes her revenge. What she wants are portraits of herself, and plenty of them. Her interest in the images other people have of her seems boundless. She has used these often conflicting representations in a number of projects, and mounted a show in which her own contribution is rather passive, presenting what other people have achieved: images of Kerri.

Scharlin has reduced herself to an object that can be rendered in various media by other people. In clay, in words, or in images—it doesn’t matter as long as the object remains