Born 1976. Lives and works in New York, NY

Selected Solo Exhibitions: 2002 'Putty Watches', The Dealership, Brooklyn

Selected Group Exhibitions: 2003 'The Horror of Art', Grazer Kunstverein, Graz; 'The Tresspassers', Lyonsweir Gallery, New York; 'No, Tresspassing', Priska Juschka Fine Art, Brooklyn; 'Trampoline', Markus Ritter Gallery, New York. 2001 '3-person Show', P.S.1, New York; 'Dismal Garden', American Fine Arts, New York; 'Video Marathon', Art in General, New York. 2000 'Video Showcase #4, Bridge Arts, New York; 'Group Exhibition', Andrew Kreps Gallery, New York; 'Society of Control', New York. 1999 'Polkadots and Shotguns', H. Lewis Gallery, Baltimore

Productions: 2001 'Debbie Does Dallas', director, Fringe Festival, New York 1995-Present VIDEOGAMES Adventure Services, co-founder director-in-residence, New York

Brock Enright

When I was thirteen, I awoke in my walk-in closet trembling with fear-ÑI'd been kidnapped. I looked up and saw my clothes hanging above me and realized that it was only a dream. But the rush of adrenaline and terror felt totally real.

A similar fabricated terror and resulting rush emanates from Brock Enright's VIDEOGAMES PROJECT. What began as an attempt to 'create a monster/Frankenstein/ tornado/robot/computer that would be framed by others' is now a business of 'extreme kidnapping' that serves a client, yet is also an act of conscious art making. But Enright holds that kidnapping has nothing to do with his work: it's merely a device used to 'create a mess that will be combed through' once the project comes to an end. The project grew out of Enright's interest in constructing a game with no rules, no beginning, and no end. He relies on the 'misunderstanding of image and information' using 'decoys that are decoys for decoys.' Motivated by the fear of failure, Enright follows in the footsteps of a mad scientist, part Buster Keaton, part Dr. Strangelove. He controls certain elements while leaving others open to modification through the players involved and circumstance. The act of kidnapping is merely a means to an endÑa tool used to tempt fate and taunt failure. 'I have to make it look like I'm doing it in order to accomplish my task. Make it look like I'm building a dollhouse, but I'm really building a bomb." In Enright's work first impressions can't be trusted.

Ali Subotnick