Joel-Peters Witkin
Humor and Fear, 1999. He met her through the Internet; she sent him her photograph. She’d been a gymnast, then a nude dancer, but after having her breasts surgically enlarged, she suffered toxic chock, with required the removal of her legs, fingers and breasts. Wishing to convert her tragedy in a similar way to Abundance, Witkin turned to comedy: Mickey Mouse ears and a brassiere made from plastic cones worn by racehorses. For him, the strategy restored the power. (Eugenia Parry)
Joel-Peters Witkin
Abundance, 1997. Her mother tried to abort her. Surviving her birth, she was abandoned. She lived outside Prague and decorated her apartment walls with pictures of body builders. As Abundance, she was transformed into something luxurious – an eighteenth-century sculpture. Witkin planted her in the urn; to him, she was a root, strong and tenacious. The American photographer’s celebration of her beauty amounted to the most attention she’d ever received. (Eugenia Parry)
O corpo dum homem é o seu bem, e quando ele faz oferenda do seu corpo ou da sua carne, ele faz com isso dom da única coisa que verdadeiramente lhe pertence...
(Mato-Kuwapi, índio sioux santee-yanktonai)
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