The Line it Curves
All work and photographs © Niloofar Taatizadeh
About the artist
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About the work
What becomes evident from the unfinished Machine G-98 is the denial of desire, a repression predetermined when the imaginary is presented as a machine. Yet the machine itself becomes a territory for desire. Also, the anonymous-like object covered with latex has emerged from a disappearance of a body as a binary that we are trapped in, with it we are entering a whole new form with a limitless limit, we are getting to a couple of bodies as multiplicity. Ultimately, this machine is a territory for desire, a repressed desire, which explores the complex space of sexual difference and attraction, repressed or tortured. However, the body itself has disappeared from the scene. As the existence of the body becomes insignificant in the strange function of the machine. It is not about an individual anymore, as all the elements of the work are dependent upon each other. Not one of components would have the same effect on their own, this is without doubt. This may simply be, because, the machine needs the floor to rest upon, just as the latex object needs the steel sheet. It is through this process of going beyond bodies and becoming something more or even less, that the individual becomes insufficient. For instance, one of the things that can be achieved through this process of becoming is losing a sense of a singular body in order to get to a sensation. The state of pure becoming/state of possibilities of being, creates a combination of all these extraordinary sensations while undergoing transformation. According to Deleuze, it s in this becoming that the entire body is able to escape from itself. It is in becoming imperceptible that the figure disappears. For example, as depicted in Bacon’s painting: Study after Velazquez’s Portrait of Pope Innocent X,1953, the entire body escapes through the screaming mouth. It is through senses that smile behind the scream can survive.
Text source: artist website