new-york

Sue de Beer, Untitled (Still from The Blue Lenses), 2014, digital metallic C-print, 14 1/2 × 20 3/4".

Sue de Beer

Boesky East

Sue de Beer, Untitled (Still from The Blue Lenses), 2014, digital metallic C-print, 14 1/2 × 20 3/4".

“He never talked about where he was from. At the funeral, that was the most I ever heard about his life.” So begins the spoken narrative of Sue de Beer’s new two-channel video The Blue Lenses, 2014, which tells the story of Daniel, a con artist, in part through the account of a young Arab woman. Borrowing the title of a 1959 short story by the British author Daphne du Maurier in which a woman’s eye surgery mysteriously causes her to see people with fearsome animal heads in place of their own, de Beer’s beguiling tale also deals in confused appearances and assumed roles.

The work’s abutted projections are sometimes identical, at other times divergent; often the action of one trails that of the other by a moment, presents a different perspective, or shifts from a moving image to a sequence of stills. It’s a familiar enough device—in de Beer’s oeuvre and those of countless other

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