Helen Pynor's work introduces a new visual language into contemporary cultural and philosophical dialogues centring on the interior of the human body. Challenging dominant modes of representation, Pynor's work avoids the celebration of violence and horror in relation to the body's interior, and simultaneously avoids the sanitised depictions common within medical discourse. Despite the potential for morbidity in the subject matter, the works become strangely compelling evocations of our visceral fragility and the entwined nature of our biological and cultural selves.
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