This photographic triptych shows our model, known as M.A, eating as the camera zooms on her face. The artistic quality of this triptych

Result #1

This photographic triptych shows our model, known as M.A, eating as the camera zooms on her face. The artistic quality of this triptych is almost as important as its conceptual implications: Its a startling visual experience that implies the impossibility of such a relationship. In fact, the relationship between the models face and the filmic image is revealed to be the most complex and mysterious of all. M.A.s face is all-too-human, yet it is always in the midst of the unknown. Her face is not a witness to a physical event, but rather a space between two points of reality that contains a hidden energy.The triptych also contained an ink-jet print, from the series Breakaway, 1995, showing the inner workings of the model, her face as she traverses the abstracted landscape of a barn. The number of times the model is seen as an interior object is a metaphor for her own ability to break through the boundaries of the world. The barn is an archetypal form of reality, and M.A.s own internal space is as much an interior as an exterior. The barn is a place where the inner and the outer become one, where a world of ideas can be realized.The title Breakaway might be a reference to the barn as a building. It is also a metaphor for the idea of being in between, a space between worlds, between realities and worlds, between cultures, between individual and collective, and between the individual and the world. M.A.s own internal space is a region between two worlds, between inner and outer worlds. This is where the hidden energy of her life and her art lives in: between inner and outer worlds. The model represents a place where the inner and outer worlds meet and where our common ancestors, or ancestors, are reborn.M.A.s work challenges the idea that art is an objective measure of cultural difference. It is a place where the inner and outer worlds meet. She uses various images to challenge the common notion that art is an objective measure of cultural difference.

Result #2

This photographic triptych shows our model, known as M.A, eating as the camera zooms on her face. The artistic quality of this triptych is high: The design for the double-camera piece is clever, and the framing is clean. M.A.s double-camera work is in full effect in this one, as she moves from one side of her studio to the other, a real action, a representation of a real action.M.A.s plan is a well-known one. She has always talked about the way she sees and how she wants to experience life. And yet she isnt only a camera operator; she also has the ability to design, fabricate, and execute a series of scenes and objects. She has a sense of the way things are, how they can be made. M.A.s studio is a complex one, full of layers of paint, of natural light, of the air, and of the light itself. It is a world of clothing, and, like a wardrobe, it always includes a neck, a shoulder, a shoulderbag, and a hip. The body of the M.A. in this triptych is stripped of all its clothing, except for the clothes she is wearing. What M.A. wears has been painted over. She is naked, and she is also very much in love with her body.She is very conscious of her form. The body of the M.A. is the same as that of the M.A. who is a designer. The M.A. who designates herself is also conscious of her body; but, unlike M.A.s M.A. is not the same M.A. who is a designer. The M.A. in this triptych is the M.A. who is conscious of her body.M.A.s studio is a complex one, full of layers of paint, of natural light, of the air, and of the light itself.

Result #3

This photographic triptych shows our model, known as M.A, eating as the camera zooms on her face. The artistic quality of this triptych is tremendous; it is more like a personal poem than a movie.The photograph, M.A. Surfaces, 1995, a six-part series, shows a subject in her studio, her feet dangling from a pipe, her nose exposed. In the foreground, she is surrounded by a wall of green paint, surrounded by a cast of her clothes. The camera captures the silhouette of the floor of her studio, as well as the open window of the studio. The scene is so close to the camera that the camera has to travel backward to get the image. The viewer is the focus of attention, and in this way, M.A. Surfaces is also the mirror of the artist. We are not just watching an object, but seeing it in motion. The camera in this piece is attached to the wall, and the camera moves in front of the wall. The walls become the surface of the camera, while the floor becomes the surface of the floor. The camera moves behind the wall, behind the camera, and behind the camera, creating an illusion of depth.The photograph, M.A. Drawings, 1995, shows M.A. in her studio, the camera dangling from the wall, the floor, and the camera in front of the wall. We can see the camera behind the wall, behind the camera, and behind the camera. The photograph, M.A. Drawings, 1995, shows M.A. with her feet dangling from a pipe, her face revealed. The camera is suspended above the ceiling of the studio. M.A. is also seen from behind a doorway. In the foreground, the camera is suspended over the ceiling, while the camera is suspended above the floor. In the background, the camera is suspended over the ceiling.M.A. Surfaces is an important work in this show. It shows M.A. as a woman who is in a private space.

Result #4

This photographic triptych shows our model, known as M.A, eating as the camera zooms on her face. The artistic quality of this triptych is striking: The images show a model with her face covered in what looks like rat-infested carpeting, her torso covered in a black dress, and her legs exposed, her face turned toward the viewer. The painting works on the same level as the triptych, but its style is different. Here, the artist has divided the triptych into two sections: on one side is an image of her body, on the other a portrait of M.A. The photographs are meant to be viewed in three dimensions, but the artist splits the two into two equally equal portions, so the portrait is divided into two sections. This is the same process that, in the triptych, M.A. is followed by the model. There is a clear difference between the two, and the difference is apparent in the framing. The camera is used to capture the subject, not to capture the object. In the portrait, M.A. is shown lying on a bed, but here, the subject is herself—a room-sized piece of furniture that has been painted black. The photo-room model is there, but it is framed in black, which is also the black of her body. The black is the color of the carpet, which is applied to M.A. in black paint.In both of these works, the model is foregrounded, while the subject is made to appear in the background. The model is the subject of the triptych, but in the portrait, the model is the subject of the portrait. The model is a stand-in for the subject, and the portrait is the subject of the triptych. In the triptych, M.A. is represented by a portrait of herself. The model is the model of the triptych. In the portrait, the model is the model of the triptych. In the triptych, M.A. is represented by a portrait of her body.

Result #5

This photographic triptych shows our model, known as M.A, eating as the camera zooms on her face. The artistic quality of this triptych is visually striking, but one would not expect such a work from the British Museum. The fact that it is reproduced in the exhibition catalog is a welcome surprise. As a matter of course, the artists work is not intended for exhibition; the works are never to be exhibited. M.A.s studies in art history—particularly sculpture—were, in fact, intended to be housed in museums, as are her paintings. We are dealing with work that the British Museum shouldnt have produced, but that the museum itself is capable of producing.The M.A. triptych is reminiscent of a boxed set; the three-dimensional objects that it contains are boxes, so the triptych is an extension of the box. However, the boxes are, in fact, made of wood, and they have no internal metal surfaces. The wood has been ground down to a matte finish, and the metal has been melted. The wood is then hammered, and the resulting object is painted with a smooth, glossy finish. In a sense, M.A.s triptych is the most significant work in the exhibition. It shows a work of art that she has chosen for its visual appeal. In this way, M.A. is able to call into question the traditional notion of the art object as an original object. In a way, M.A. is able to bring out the secret of the boxes, which are very personal, very personal.The triptychs create a wonderful, surreal atmosphere. They are made of wood, painted black, and stained bright red. The wood is displayed with its wood grain, and the surface is often stained. The wood grain is layered in different colors, with the red being the most dominant. The wood grain also gives the wood a very high density of weight. In these works, M.A. is able to use her body as a means of creating a personal, almost organic, effect.