Fashioning the Body: Versions of the Citizen, the Self, and the Subject

       I see, in the inorganic objects, a light bulb - and within the light bulb a parasol, and without the light bulb a parasol. I see a wheel, a studded tire, countless BMW monograms in aluminum steel, a gear grinder, and a pocket watch. Among the organic there dwells a wig but not really a wig simply because the face is missing, replaced instead with a cut of a photo of a red dress and some lettering, which is perhaps inorganic but seems organic by virtue of the placement. A lone curved hand stretches out from the hair, the hand looks Venus-like, like a hand I've seen before. Oh! It looks like David's hand, David of The Statue of David. The woman's face in the corner has one eye barely visible, covered by the BMW moniker and the other eye distended, out of proportion, too-big too-blurry out of focus, perhaps not even a human eye at all. This woman's face is in stark black and white. The same color as the light bulb.

Here we have color, sepia tone, and black and white.

    There is a sepia man emerging from the center of the studded tire, perhaps a sports player. He looks to be punching (but layered over) the parasol and the woman holding it. Gold bright white mechanical evolution, feminine and organic but utilitarian woman-as-machina, woman-as-car, a timekeeper, what do we find beautiful? Is it time (watch), money (BMW), power (electricity), motion and movement? Oh if only we could put wigs on our engines and fingernails on our timepieces, what a marvelous bio-mechanical fusion of the new and the old, sexy IS technology, don't you know?