Denne dramatiske skulptur skabte kunstneren Chrissy Conant ved at lave en afstøbning af sin egen krop i silikonegummi, og arrangere det som en "trofæ-pels", i samme stil som nogle har ydet at udstille store rovdyr og bjørne. Når hun bruger sin egen krop, er det på flere planer fordi hun vælger at udstille sig selv.
Med hendes egne ord:
To exorcise a part of my psyche that feels powerless and objectified, I laid fully shaven, covered with Vaseline, and immobilized for hours, in a spread eagle position, while being covered with bucketfuls of gelatinous mold-making material. With the impressions, I made a life-sized, flesh-colored silicone rubber cast of myself as a human skin rug. The upturned head has long, perfectly coifed, wavy hair, that echoes the ripples in the flayed skin’s edge. The glossy-lipped mouth is open in a sexually suggestive way, and the glass eyes, complete with fantasy-length lashes, stare up submissively from the rustic wood floor section, upon which the rug is magnetically attached.Ved et maleri illustrerer Chrissy Conant hvordan "tæppet" tager sig ud på stuegulvet foran kaminen. Klar til at modtage, trådt på, blive brugt. En flænset silikone-dukke.
"Chrissy Skin Rug" represents my relationship to my parents. The rug is a silicone rubber cast of my bare skin. I position myself as a human rug on a wooden floor with an open mouth and eyes that gaze suggestively upward. Parental influences from childhood continue to suppress me, long after I have grown up and they have gone.
Skulpturen indgik i 2008 i udstillingen "Sexy Time, A Group Effort" på Morgan Lehman Gallery, New York.
Chrissy Conant confronts feminine identity, mortality, objectification of women, and parental influence in “Chrissy Skin Rug”, a silicone rubber cast of her entire naked body. Positioned as a life size human rug, similar to a bear skin rug one might find on a hunting lodge wall. The eyes and mouth are wide open, intentionally confronting the viewer.
De klare seksuelle referencer gør det fristende at observere hvordan især hovedet på skulpturen minder om en oppustelig kvinde-dukke som sex-legetøj. Altså kvinden som sex-objekt, klar til brug. Deep throat. Som nedlagt og flået jagtbytte. Et trofæ i højde med gulvbrædderne.
Referencerne til forældre-indflydelse samt hendes barndom og magtesløshed kunne inspirere til rent spekulative overvejelser om hendes baggrund for skulpturen, men jeg skal undlade at udlægge denne tankerække her. Det ville være alt for spekulativt at skrive ned.
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