The to its use in performance and its

The body fragmented in contrast to the body as a whole, abstracts the viewers conceived perception of the spacial identity relevant to the whole being, placing relevance to specific identifiers of the body in relation to their setting. Representation of the body both physical and imaginary, holds a significance in relation to the boundaries of ‘self’ and ‘being’ continually being contested. The body as a whole cannot be entirely material but instead involve an absent presence of ‘being’. Elaine Scarry (1985) states “that our bodies do not stop at the apparent boundary of the skin, but we incorporate external objects into our self image, extending the self prosthetically. In addition to being both material and immaterial, and prosthetically extendable, the body is also both sexed and gendered, and its meanings and status are constructed within socio-cultural discourses”. Fragmented bodies have been represented as cultural objects inclusive of a cultural memory.  The use of the female blow up doll representative of a modern conception of the venus fertility doll( a funademtaly religious symbol ), incorporates the use of the female body in relation to its use in performance and its exposure,particularly problematic due to its traditional exploitation as the object of male heterosexual desire.The doll was cast with a thin layer of concrete, temporarily masking its previous identity, then inflated revealing in fragments the body, inwardly inclusive of all its properties. This is made of part of the artist’s own body, static in time and setting; a representation of the body status as culturally, historically and temporally located beings.”fragments of women’s bodies, crave, through mourning or desire, what is lost or unattainable: the absent presence.” The spectators analysis in relation to visual perception of the bodily postures and gestures signify both the performed action and provide a model from which viewers can learn to enter into acts of religious devotion. Such activities, whether identified as sacred or secular, turn viewers into participants and are categorized as participative.


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