Philip Brophy with Hungry Vaginas. Photo: Julie Clarke © |
Horror genre by default debases the body, cuts, slashes, fragments,
devours, excretes, oozes or covers it with fluids, reduces it to pulp until it
is just flesh or waste, a mere semblance of the holistic, clothed and recognizable,
clean and proper body. Body horror aims to excite, disgust, create fear, sexualize
and challenge our very sensibilities of what is acceptable and palatable. Philip
Brophy’s current installation Color Me Dead now showing at the Ian Potter
Museum of Art, The University of Melbourne, includes prints, video projections and digital animations
of female nudes accurately rendered in paint, filmed or recreated as illustrative
caricatures, and not only engages with body horror, but raises some interesting
questions about how the female nude has been historically portrayed. Indeed
many of Brophy’s works, particularly his paintings on one wall, covered with projected moving water re-mediate many of the representations of female nudity
within art history. I did think that he glossed over many of the complex reasons why certain events in Christianity were over-represented in art and I thought that at one stage he became carried away with his own rhetoric, in fact, I was left thinking after his talk
this afternoon that there is much humor in this most serious consideration, in
fact when explaining why the Hungry Vagina animations on three small podiums
were placed at a particular height, Brophy dry humped one of the screens so
that his pubic area was directly in contact with the rhythmic pulse of the opening
and closing, gorging and swallowing animated vagina. Brophy explained that it
was not unusual in Parisian galleries for paintings of traditional female nudes to be
placed on the wall in such a way that the pubis was at eye height, enabling the
gaze to be directed at what Brophy considered to be the actual subject of the
painting, the vagina, which was never shown. On the other hand, I perceived his action as engaging with virtual sex where the male viewer achieves some kind of sexual
gratification by viewing female nudity on screen or over the Internet. As I
viewed these benign, but, all the same, monstrous vagina's I was reminded of
Mouths of Hell, those gaping monsters that appeared to infiltrate art until the end of the middle ages and were most common in representations of the last judgement. Brophy did state that he had gleaned the shapes of his animated
vaginas from a number of historical sources. As Brophy spoke about his works I understood it to be a performance of sorts, perhaps like his Fluorescent 1 (2004) in
which he dressed up in drag, lip synching and dancing, for at his talk this afternoon he rarely stopped
smiling and cajoling in his orange tartan slacks and lime green bomber jacket
complete with skulls heads and his vernacular was that of an individual much
younger than himself and those more inculcated in post-digital culture, or perhaps he's just been hanging out with too many students or teenagers. The
monstrous female caricatures oozing their way out of automobiles on one of the walls may appear
more in place on a t/shirt, poster or graffiti wall, but served to show yet
another way that the female form has been appropriated in contemporary culture. Color Me Dead is showing until the 6 September, it's well worth a look.
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