O Her!

‘O HER!’ deliberates on the perception of female sexual pleasure and its place in an individualistic and controlled society . Commonly disregarded in the act of procreative sex, the place of female sexual pleasure today is a product of historical and religious habituation, their socio-political constructs and its psychosomatic effects. The workings of bio political mechanisms that have far reaching vectors in today’s societies of control. Despite its liberation, female sexual pleasure is judged as a self-indulging, wasteful exercise that generates no tangible results.

Through the journey of the invention of female sex toys (vibrators), the research aims to subvert politically influenced myths of reproduction, denaturalize societal constructs of domestication and revive female desires that challenge the binary. The concept of the assemblage is at the heart of these explorations and the artistic practice. The creative processes applied by the artist involve mediums and materials that allow her to explore this nexus of the pleasure object and female sexuality in its constant state of becoming, regeneration and experimentation. And the relevance of such an assemblage is further assessed in a sexually liberal, but anxiety driven, over cautious and self-indulgent society pivoting on instant gratification and steering from emotional commitments.

While the starting point of this project is rooted in the historical location of women, the investigations lead one to think of assemblages as an approach adopted by women to disassemble and reassemble their collective and personal selves (Haraway 163), essential for survival in the current pharmacopornographic societies of control. It is about engaging with societies of control, experimenting with the opportunities it offers, finding potential movements of deterritorialization and possible lines of flight (Gilles Deleuze 161). The vibrator, as an integral part of such an assemblage, is not separate from the female body and in this context, it is no longer about anti-reproduction, immorality or sexual indulgence but about being the indulgence, the desire, the immoral and the choice. Sexual autonomy requires access to pleasure and possibilities. Women, as part of such abstract couplings, are unafraid of their becoming, partial identities and contradictory standpoints (Haraway 154) and willingly partake in this pharmacopornographic culture that enables sexual variance and freely circulates knowledge about it (Comella 14). Clearly the Goddess is making way for the cyborg and embracing her pluralisms (Haraway 181).

Vibrator Drawings

The drawings are reminiscent of action paintings, expressing the subconscious.

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Moving Image Artworks

My video works attempt to denaturalize the social construct of domesticity, the private and the male gaze by expending sounds, movements, and imagery of the pleasure device.

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Performance: #Herpleasure

Through the medium of performance art, I wish to highlight the muted notion of female sexual pleasure by representing it as an everyday occurrence.

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Installation: The Pleasure Devices

The Pleasure Devices, a display of electronic vibrators in a transparent Perspex cube with a reflective base. The display, inspired by Duchamp’s readymade (Fountain1917) attempts to normalize conversations on female sexual pleasure. Despite the deceptive appearance of these devices, a display of these in a white cube space raises questions of boundaries between pornography and art, the public and the private. Also, a lack of sexual aesthetics in this space further challenges this argument.