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'6 kilos of phantasmagoria', 2005, is made from the largest amount of silicon the artist can mix by hand in one go, while 'a-c from the Fleshly Worn series', 2004-5, are poured to the length of his body. The top surface of the pour (shiny to the point of being often mistaken for porcelain) attests to the outer limits of the cavity created by the body’s imprint and the surface of the overflow. The body’s impressions—left and right knees—are then re-aligned, albeit in a hung-out cadaver–like fashion.
In describing Christopher Braddock’s silicon cast works entitled ‘the Fleshly Worn series', 2004, Natasha Conland states that “…rather than casting a representation of the artist, the process captures an imprint of the performative action—between body and material… Not any body, but one’s own body, becomes implicated as a site of remedy for others. Inserting one’s own flesh into the mould suggests that the human body implodes the very non-relational aspects of Minimalist art …” (Conland, Sanitate, p.12)
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