Voluptuous, eerie, surreal, explicit: this series of polymorphous figures illustrate disfigured intimacy. Dislocated and fragmented anatomy connects, merges and interacts in a violent and obscene embrace. A fission of estranged body parts conjugated in an artificial realm, a contrived photographic plane that gives even greater finality to the image’s sense of having been plucked from the world and sundered irreversibly from its original moorings. These fragmentary constructions don’t exist in a pictorial space, which would offer some specificity or guidance, no matter how peculiar the image, because it would provide us with co-ordinates and clues to interpretation. The process of amputation and truncation transforms the initial subjects into a single amalgamated entity within a new outline.
The fragmentation and hybridisation of these figures represent the onrush of discontinuous impressions and sensations delivered by life in the city, the media, advertising and speed. The maelstrom of disconnected images reveal the unsustainability of radical subjectivities. The unfamiliarity of the new configurations and dialectical confrontation between images transforms bodies into parts, beings into things. In Marxism, reification (German: Verdinglichung, lit.transl. "making into a thing") is the process by which social relations are perceived as inherent attributes of the people involved in them, or attributes of some product of the relation, such as a traded commodity. This implies that objects are transformed into subjects and subjects are turned into objects, with the result that subjects are rendered passive or determined, while objects are rendered as the active, determining factor resulting in Hypostatization - the an ontological and epistemological fallacy that whatever can be conceived of abstractly, must exist.
