Hair has always been associated to women, culturally and politically. In some cultures women are obligated to cover their hair, in others we are expected to have our hair a certain way. It is always an issue how you style your hair or where in your body you let your hair grow, making us always feel self-conscious of our bodies and constantly try to change it. Men’s bodies are accepted as “the natural body”, while female bodies must be reshaped and groomed in a certain unnatural way. By making us women feel like our natural bodies are not “right” we develop insecurities and alienation at an early age, and hair plays an important role in this issue. By mixing hair with different objects I try to bring this objects to life and also comment on the objectification of women, turning objects into women. I like intervening chairs because they are “lonely objects” as their shape evokes the absence of the human body. Dining chairs are also this abused piece of furniture, that you always move around and is never the center of attention.
Love Dolls, 2015 - 2018
A series of feminine cement chests comprised of plastic sex dolls filled with concrete, at first glance appear to be contemporary truncated version of Hellenistic torsos. It becomes evident that their extremities and heads are missing, but the sexual orifices remain, highlighted, in their original yet impenetrable pink or red plastic.
Sex stores are full of these objects that are reproductions and representations of the female body. They contain hate and love. They are shallow but evolve into very intimate objects.
The inflatable love doll is a representation of the female body; it is both figurative and abstract, as it tries to reproduce the female figure but remains true to its inflatable structure, standing as an object in its own right. The vagina is a pink hole, very abstract. By filling up the doll with concrete it turns into a solid sculpture, no longer movable or fuckable.
The Inflatable Love Doll is a torso, like those ancient Hellenistic torsos. The appearance of the sculpture raises questions about its material, is it soft? Is it light? I enjoy mixing things that normally don’t go together, like an inflatable object that is light, rounded and bouncy, with concrete that is very much the opposite.
Her torsos become symbols of an impossible objectification, as it is not possible to penetrate these dolls, their pleasure-inducing cavities having been filled. Instead of soft objects whose sole purpose is to fulfill the desire of men in their solitude, they have instead become grossly mutilated chests.