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Morning's animated cartoons looked molded in latex, anthropomorphic rabbits injected molded, a latent erotic awakening later as any number of sexual proclivities, substance has sort of intrinsic qualities that we relate to. “Flesh was the reason oil paint was invented," said painter before violently rearranging his women. "A slick glass perspires over your naked body in coitus," and Wellmann's erotics glazed like wet porcelain, now shattered. Into remains of ambiguity we could call less a gestural innuendo leaving the perverts guessing (a la Cecily Brown pre-2001) but a more literally read erotics against interpretation. We are looking for ways to make the body reappear, preferably not a cartoon but a living thing bloodfilled thing. And blushing reveals our vase's vulnerability, the blood inside, offered close to the skin, close to letting. It was Darwin’s “most human emotion,” Sexual stimulation causes blushing, and thus the sexually engorged ensure audiences the actors are filled with blood, and so die first in horror, blooded before its letting. But the point in both sex and horror is to see what's just below the surface a pool.
see too: Nicola Tyson at Friedrich Petzel, Nicola Tyson at Nathalie Obadia, The violence against faces. Lisa Yuskavage at Contemporary Art Museum St. Louis, Genieve Figgis at Almine Rech, Miriam Cahn at Meyer Riegger, Ruby Neri at David Kordansky, Julien Nguyen at Modern Art, Tomoo Gokita at Taka Ishii