Her highly - adorned objects
feature bodily forms camouflaged by floral prints, embroidery, and glitter.
Not exact matches
At the end of his poem «Sailing to Byzantium,» W.B. Yeats, as he conjures a poetic afterlife, draws an absolute distinction between the «
bodily form» of «any natural thing» and products of human artifice and craft that depend on such
features as «hammered gold and gold enameling.»
This term, defined by Donald Judd, is helpful in appreciating Benglis's productions, from her notorious 1974 full - page advertisement in Artforum,
featuring her tanned, nude self wearing sunglasses and wielding a formidable dildo; to the well - known paint pours that
form frozen gestures and
bodily accumulations; videos that play with representation and image / sound distortions; and a range of bedazzled reliefs that court vulgarity and glamour in equal measure.
In erasing
features, removing limbs, expanding scale, and joining together internal and external
bodily parts, she creates three - dimensional figures and objects in clay that move away from familiar images of the human
form.