“…the unrepresentable space of non-coincidence, deviation, difference and divergence in the ultimate notion of flesh…the flesh is polymorphous, and in continuous movement opening new gaps and fissures…” - Lisa Käll ‘Traces of Otherness’ in Ellen Mortensen ‘Sex, Breath, and Force: Sexual Difference in a Post-feminist Era’ 

The starting point for ‘Raw Tissue’ project is the exploration of the female body as situation and flesh as the means of communication. The intimate and unsettling proximity of the human tissue juxtaposed to the sheeny, malleable skin of the octopus. Both are co-dependent in their ability to create metamorphic configurations, both are making reference to the mythology of the forbidden and the bestial. The flesh in these images is the site of tension and reciprocity, of receiving and responding. The skin serves as the surface to project the dreams, as the activator of the pulsating appetite for closeness. It’s the overlapping between looking and touching. These images ask the question what is the ’form of sensory engagement where the eyes are transformed into sensory organs of touch’ and what might happen when ‘an otherwise flat image may become something like a textured surface’ (‘Touch: Sensuous Theory And Multisensory Media’ by Laura U. Marks). Though there’s an anxiety of the responsive sexuality, especially when it is being reconfigured in the relationship to ‘the other’ to become ‘the one’ with it. The mix of attraction and revulsion is intensified through the visual articulation of the imperfect, which generates a wholly different distribution of the sensorial - through the force of the encounter. The margins of darker desires and primordial fears are shaken, and the visible frontier, represented by skin, becomes permeated by the reverberations of psyche. This is the fluid territory between possessiveness and submission, the tenuous zone where the borders, both physical and visceral, are displaced.