Laura Gonzalez

blog

23 Jun 2006

On being an angel

I may be making flimsy connections here but yesterday, in that Alpha state we all go through before dropping to sleep, in that state of utter clarity and receptiveness, Francesca Woodman’s On being an angel came to my mind and supperimposed itself to Duchamp’s The Bride Stripped Bare By Her Bachelors, Even. (Oh God, that “even” seduces me, it’s driving me mad!)

On being an angel Large Glass

Think about it: Francesca could be the bride, who has been stripped bare with her open mouth ready to let the milky way and pistons out, and many of the other elements scaterred in the photographic plane (umbrella, shelf…) the bachelors. The chocolate grinder, outside of the composition, may be the sun moving, grinding and the sleith could be that strange piece of equipment on the left hand side (same position as in Duchamp’ work!)

For a quick description of The Bride…‘s main compositional elements see Suquet’s diagramme below:

The two images also share a strange spacial construction, as she is upside down to us and the image is cropped in and cut into sections by the sun… It makes frightful sense to me…

Woodman’s image courtesy of Eva Rus, who wrote this interesting essay about Francesca Woodman

Posted in Blog,Seductive artworks,Seductive things


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About Me

Laura Gonzalez is an artist and writer. Her recent practice encompasses film, dance, photography and text, and her work has been exhibited and published in the UK, Spain and Portugal. She has spoken at numerous conferences and events, including the Museum for the Fashion Institute of Technology in New York, the Medical Museum in Copenhagen, College Arts Association and the Association for the Psychoanalysis of Culture and Society. When she is not following Freud, Lacan and Marx’s footsteps with her camera, she lectures postgraduate students at the Glasgow School of Art.

Her doctoral project, completed in 2010, investigated psychoanalytic approaches to making and understanding objects of seduction, including an examination of parallels between artistic and analytic practices, a study of Manolo Blahnik’s shoes as objects of desire, a disturbing encounter with Marcel Duchamp’s last work, and the creation of a psychoanalytically inspired Discourse of the Artefact, a framework enabling the circulation of questions and answers through a relational approach to artworks.

She is currently immersed in an interdisciplinary project exploring knowledge and the body of the hysteric.