Jeffrey Stuker was born in 1979 in Fort Collins, USA. He lives in Los Angeles.
Jeffrey Stuker is an artist whose work combines 3D animation with film-recording techniques to produce motion pictures, photographic prints, and drawings. His practice stems from ongoing research into the technological and philosophical implications of mimicry across nature, science, culture, and language. At the foundation of this research is a sustained engagement with biological mimicry and the evolutionary strategies through which organisms approximate their environments––from camouflage and protective resemblance to the development of eyespots and other mimetic forms. The artist extends these biological phenomena into the cultural and technological systems through which the natural world is examined, classified, and reproduced, including museological display, scientific research, computational imaging, and machine learning. Rather than approaching these subjects through the conventions of ethnographic or scientific observation, Stuker’s work moves between the formal language of the essay-film, simulated reconstruction, and historiography.
Recent exhibitions include L-għajn at Ehrlich Steinberg, Los Angeles, CA (2026); Ecotechnics at UC Irvine Beall Center for Art and Technology, Irvine, CA (2026);Almost Like at Ochi, Ketchum, ID (2026); Otium Perambulans in Tenebris at Gauli Zitter, Brussels, BE (2026); The Hothouse at The Todd Madigan Gallery, CSU Bakersfield, Bakersfield, CA (2025); Mantis te Vidit at Studioli, Rome, IT (2024); Pacific Standard Time at the Getty Museum/University of California, San Diego, CA (2024); Atavism for the Future at Ehrlich Steinberg, Los Angeles, CA (2023); Next Year in Monte Carlo at Ben Hunter, London, UK; Objects of Desire at Los Angeles County Museum of Art, Los Angeles, CA (2022); The International Biennial of Contemporary Photography at MOMuS, Thessaloniki Greece (2021); among others. He has written for art publications including Artforum, Los Angeles Review of Books, Mousse, Bricks from the Kiln, Art Handler, The White Review and Effects, where he also serves as a co-editor.
His work is represented by Ehrlich Steinberg (Los Angeles).
