Nora Berman is a Californian artist whose work seems to engage with notions of primal consciousness in a time and place (contemporary Los Angeles) that is informed by the Dark Web, conspiracy theory, religious hysteria, ecstatic lifestyle cults, paranoia, neurasthenic self-help, violence and saturation media. She is an artist whose spiritual grandfathers might be Thomas Pynchon and Mike Kelley–neither of whom, as they say, stuck around, but whose vision she seems to inherit for a post-digital generation. - Michael Bracewell
October 12, 2020
Statement of Facts That Are True, Today
The names Nora Berman, Sparkly22Miracles, Harpreet Shanti Kaur, Draedalix, Kayla, and Dr. Panacea the Quack are vessels in a constellation. They are all Nora Berman and not Nora Berman at the same time.
Each name is a cup that exhibits its own unique shape, frequency, and time. They are the keys to communicating with the multiverse.
I have nothing to gain from looking through the lens of being who or what a person or thing is; I have everything to lose. I engage in a process of conscious self-destruction as a way to constantly reincarnate while living.
Through multiplicity I safeguard the secret nature of my practice. Different doors open at different times. Entry depends on sincere wanting.
My project as a creator encompasses many forces that work together. Painting is the most obvious driving force, but it is one part of a larger configuration of expressions. A “Nora Berman” painting cannot exist without a performance by Sparkly22Miracles, and so on.
The “body” of Sparkly22Miracles is an effect, created by a cause. A consequence of artificial light, a confusion of boundaries. The cause is defined by my conviction to honor the abundance of miracles, and the effect is an energetic relationship to what I value.
In being Sparkly22Miracles, what’s in the name, appears. Miracles. Miracles. Miracles. Miracles. Miracles. Miracles. Miracles. Miracles. Miracles. Miracles. Miracles. Miracles.
I am slippery. In my world, we don’t walk, we get around sliding on saliva.
Art functions in a similar way to sex, and to miracles. It is a pathway for the impossible to become possible. When I’m in it, I overflow, and you’re welcome to come, the only prerequisite is a sincere desire to get wet.
Unlike the well-worn ‘return to nature’ calls of communes from the 60s and 70s counterculture, Berman’s practice is noticeably embracing of the digital, or more specifically the areas in which physicality dissolves into a set of transfers and flows. - Darius Sabbaghzadeh (read full text here)