Mushroom octopus turtle flower self-portrait
Mushroom octopus turtle flower self-portrait . . . with a squirmy black and red fly is a portrait of a black women friend, her naked, translucent back contrasting with her lustrous, erect red legs and nipples. The work is a detailed cutout, and a nude woman appears in the room; the paint is a rich, washed-out pastel-black surface that conjures a light-filled, psychedelic, atmospheric black-and-white world. The most recent of these pieces, a huge, purple latex-on-canvas monstrosity, is another self-portrait, with an amorphous, burlap body in a purple field, its bright flesh seeming to vibrate. These works illustrate the effect of furtive sexual voyeurism on the viewer, who is a voyeur in a way that is not sexual. In the earlier work, the figures are shown from behind, and the most spectacular of the many drawings is a kind of full-body, achingly intimate portrait of a nude woman, all flesh and no hair, with the head of the woman almost obscured by a chandelier-size curtain of light. The smaller and more intimate piece has a stronger sense of the intimate, of being watched. The female nude is covered with a layer of black clay, and, looking at it from behind, one is a voyeur whose body becomes an object of desire.The self-portrait, which consists of eight drawings, all of which are small in size, is in a sense a half-self-portrait: it is a self-portrait without self. It is not a self-portrait of the artist as self, but a self-portrait of the artist as the artist is. It is a self-portrait that is at once self and other. In the self-portrait, the self becomes a fleeting object of desire, but also a fleeting presence that has selfhood.
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Mushroom octopus turtle flower self-portrait ???????????????????????? ???????????????????????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ???????? ????????
Mushroom octopus turtle flower self-portrait . . . . , 2013, the work appeared to have been ripped from its aquarium. Even more, it was not a figurative representation of the creature but rather a description of it—in the process becoming a kind of hallucinatory icon of the sea. Indeed, this was the artists most direct reference to the uncanny in this work, and as such it was deeply unsettling, a marvel of transposition.Moshroom octopus turtle flower self-portrait . . . , 2013, in fact, evoked both the flower and the sea, and perhaps in part this was why the work was immediately disorienting. The artist used a big, shiny, and red MDF top—the kind used in commercial kitchens—to portray the contours of an octopus shell, in which she had painstakingly drawn a delicate, animal-like line in white acrylic. The shell, too, was a kind of model for the artist herself, who had apparently never seen one, as the octopus is called in her work. The image was thus a perfect metaphor for the impossibility of ever seeing both the flower and the sea, or of knowing which was which, but it also served as an implicit signifier for the artists own unconscious desire to achieve this state of mind in which the two coincide.Moshroom octopus self-portrait . . . , 2013, likewise consisted of a metal-covered sphere and a little sculpture in bronze, each in a different material and applied to a blue polystyrene pedestal that reflected a single octopus shell. These were painted white, and the pedestal was empty; the object was now suspended from the ceiling and visible through the crack of the pedestal, as if the octopus had crawled out of it.
Mushroom octopus turtle flower self-portrait (all works Untitled), 2012, and an exquisite model of the artists hand as an anthropomorphic construct, belonging to a series of clay self-portraits (Self-Portrait with Mysterious Blue House, 2013). From the waist down, they were flat, almost to the point of being sculptures. They were also upright, and one could look up at them from above. They were the closest thing to being sculptures, but they were also self-portraits. As for the heads, they were on display in a small back room. The exhibition also included photographs, a video, and drawings. These were presented in a set of frames made of the same paper that the sculptures were on display on. They were like snapshots taken with a flash. They were hung high up on the wall, like images in a dark room. They were the result of a dream.The images had a specific, almost specific, quality. They were also vague and imperfect. The faces of the murals were rendered in black-and-white, but the faces in the heads were in the same color as the heads of the murals. The headless figures of the murals were not distorted in the same way that the heads of the heads were. The headless figures were more abstract than the figures in the murals, but still recognizable as human. The black-and-white photographs were the most interesting, and showed one of the murals at night, surrounded by a yellow sky. The photographs showed the murals at the same angle as the ground.In addition to the headless figures, there were two other murals: one of a woman, a one-armed woman, and one of a woman with a broom. In the previous work, the woman with the broom was alone. In the new work, the two were paired. A broom was on her head and a hand was on her shoulder, the face of the woman on the broom.
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