In the process of osmosis, the solvent tends to flow from an area of less concentration to an area of higher concentration. Osmosis is the movement of a solvent (often just water) across a semipermeable membrane. The term comes from the Spanish “macho” meaning “male”.
“Machismo” is an American-Spanish word meaning “virility, masculine pride”. We are all masses of contradictions, mash-ups, breathing chunky scrapbooks, Blass's work informs us – and here are our synaptic flares, and burps, made concrete.Today’s Wiki-est Amazonian Googlies Across When viewed with the more overtly sexualized works, Blass's assemblages betray a parallel distrust of the exact, especially in any attempt to replicate the organic, the bodily, the human. Her smaller works, in particular a cheap ceramic David to which cat-shaped milk jugs and ashtrays have been attached, compress this pile-on sensibility, creating a density of visual cues, noise and bluster, whereas her taller works create meditative, and, yes, silly too, chains of meaning. But there are subtexts a-plenty in these works as well.īlass employs everything from pipes to animal-shaped planters to onion soup bowls for her tall, misshapen totems, which are made from found and/or rebuilt objects: But underneath the seeming randomness of her collection of objects, an instinctual logic waits - an atavistic like-to-like, sympathetic magic. The abundant evidence of artifice, as conveyed by the wigs, conflated against the silhouette the sculpture casts – that of a curvy, fleshy creature, a Rabelaisian sexpot – both disrupts and re-aligns the inherent sexual expectations expectations naturally attached to what is essentially still a nude figure in high heels.Īlongside all these Cronenbergian flesh/not flesh, desire/revulsion dynamics, Blass's many tower-like assemblages seem rather conventional. Entitled L'Homme souci ( The worried man) the sculpture is both voluptuous (the wigs form bulbous, curvy muscles, fibrous loins) and, well, disgusting (the wigs are of the cheap sort, more wooly itchy than silky).
#EFFORTLESS ASSIMILATION CROSSWORD PLUS#
My favourite work, however, is the post-human figure made of mounds of synthetic wig hair, plus a pair of Miu Miu high heels.
The armed arm practically yells Back Off. The rock tower, a refugee perhaps from Stonehenge, is a welcoming, mystical presence. And then you turn and see that from one side of the rock a slender arm, a slender creamy blue arm, is extending, holding a deadly sharp pointed stick. About seven feet tall and basalt black, the painted Styrofoam sculpture resembles a stalagmite, a cool and patient rock sentinel. Similarly, the large work entitled Ce Nonobstant, both invites and repels. The vulnerability of the pose plus the investment, via the indelicate placement, of the common shovel with phallic power (or menace) cause the viewer to see the sculpture as both sexually inviting and utterly abject, far from sexual. The figure's lurid pose and the barn door materials (furthermore, the figure is coloured a dung brown) do not appear to work together toward a shared erotic goal, yet the sculpture triggers an unavoidable erotic response. The prone, sexualized position of the figure is indeed blunt, but the materials Blass uses to craft this situation are hardly the stuff of mommy porn: Styrofoam and paint, plus a rusted and mangy looking old shovel. Resting cozily between the cheeks of the buttocks is the spade of a shovel, with its long handle following all the way to the floor. The figure's forearms and hands rest on the floor, while its legs remain locked upright, thrusting the backside into the viewer's face. Three sculptures in particular trigger this turned-on-while-confused sensation, and all of them are made from the most unlikely materials.įemme Planche is a near body-sized sculpture of a crouching female figure. Nothing is obvious, but all is available. The first thing these dear hams said was, "Sexy!", and the show was all uphill from there.īlass's work, however weird it gets, is more erotically charged than most burlesque acts – because, unlike things traditionally considered erotic, Blass's work is dangerous and indeterminate and does not give it all away at once. I brought two friends who are both veteran theatre artists. Unless you're a total pervert (in the happy way).
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