His work reflects upon the limitations and awe - inspiring possibilities of man as machine, where subtle «imperfections» in the final drawings reveal
the intervention of human presence in an otherwise mathematically precise choreographic gesture.
These benefits include but are not limited to the power
of the
human touch and
presence,
of being surrounded by supportive people
of a family's own choosing, security in birthing in a familiar and comfortable environment
of home, feeling less inhibited in expressing unique responses to labor (such as making sounds, moving freely, adopting positions
of comfort, being intimate with her partner, nursing a toddler, eating and drinking as needed and desired, expressing or practicing individual cultural, value and faith based rituals that enhance coping)-- all
of which can lead to easier labors and births, not having to make a decision about when to go to the hospital during labor (going too early can slow progress and increase use
of the cascade
of risky
interventions, while going too late can be intensely uncomfortable or even lead to a risky unplanned birth en route), being able to choose how and when to include children (who are making their own adjustments and are less challenged by a lengthy absence
of their parents and excessive interruptions
of family routines), enabling uninterrupted family boding and breastfeeding, huge cost savings for insurance companies and those without insurance, and increasing the likelihood
of having a deeply empowering and profoundly positive, life changing pregnancy and birth experience.
Intrinsic patient factors, such as age, breed, and
presence of disease, can not be controlled with
human intervention.
«In all my works, «Dubuffet said, «there are two different winds that blow, one carrying me to exaggerate the marks
of intervention, and the other, the opposite, which leads me to eliminate all
human presence... and to drink from the source
of this absence» (J. Dubuffet, quoted on Fondation Jean Dubuffet website, accessed at: http://www.dubuffetfondation.com/home.php?lang=en).
Works such as her 1963 «Untitled (Fish),» which Los Angeles Modern Auctions (LAMA) is thrilled to have the opportunity to include in our upcoming auction, are notably absent
of direct
human presence, though traces
of human intervention and its consequences are never too far from the surface.