Bodyscapes

Discussions with Nichola Aindow

 

The point is, the paintings, acting as a mirror into the subject, have stripped us of a certain amount of control over the signifiers which we attach ourselves to, in order to prop the idea of ourselves up with.

In capturing the vulnerability (which works well in discussing the extreme opposite of such sporting ideals) you have created an exposure on the symbolic prosthesis that is “the sporting psyche”, The sporting psyche exercises such obsession with greatness in order to counter the very thing Wendy reveals (and the sitters have thus in fact ALLOWed Wendy to capture).

This allowing, for me, invokes another dimension regarding the sensation of vulnerability The willingness to look into the cold mirror, the heartless mirror that offers an image no less of one’s own death, (a death in life)


I really enjoy the vulnerability element. This fundamentally applies to anyone. The stronger the image that one holds onto to support their ego in the potential disappearance of their own death, the stronger the reaction to the threat of the disappearance of the image.

Sporting psyche just provides an extreme example of an image that provides an, in effect, immediate signifier of aptitude and power. In some sense, it is obvious. However, for Maxime, his image of power is transgresses norms, it comes in the form of a female, which crashes automatically with his own gender of being male. We thus see and witness this crash. We are allowed to be situated at the crashing point, in between the images.

What a priviledge.

© Nichola Aindow and Wendy Elia

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