Coffin Table

Under a coffin painted pink to the size of the artist’s body mannequin limbs painted black are applied. The coffin, a claustrophobic and geometric reduction to the minimum space that can be occupied by the inanimate body, thus becomes anthropomorphic. The limbs materialize the body-subject’s will to break out of the optimized structures of the body-object capitalist society. In its postmortem state, the body becomes a material to be managed, transported and spatially organized, subject to processes of standardization alien to the will of the person. Thus the work [Coffin Table,2023] explores the commodification of the body in the society of the image, developing a nonrepresentation of it that is at the same time self-portrait. It is precisely the boundaries of the annulment of the human being, subjected to grotesque pretty-fication, that are the subject of this sculptural exploration. Human agency, denied by the reduction wrought by the coffin, bursts into outer space through the motor limbs of a mannequin and is consecrated in the cast of the artist’s hands placed at the top of the coffin, which becomes its altar pedestal.