‘it is thus not lack of cleanliness or health that causes abjection but what disturbs identity, system and order. what does not respect borders, positions, rules. the in-between, the ambiguous, the composite’ – powers of horror, julia kristeva
Our fleshy bodies ooze a multitude of liquids in various colours and consistencies. We shed hair, skin, teeth and nails, and eventually, succumb to decay. Despite being organic human processes, societal ideals of purity seek to suppress these realities. In HUNTER, ‘the state of being cast off’ is embraced whole-heartedly.
Accompanied by her life-sized doppelgänger, Courtney May Robertson weaves a tapestry of images in which the monstrous and grotesque are triumphant symbols, and excessiveness is cherished. The duo interact through a hybridisation of three highly physical ‘Body Genres’ found in cinema: Pornography, Horror and Melodrama. These popular genres, often dismissed as ‘low culture’, become vessels for creating a sanctuary; a space dedicated to unfiltered desire and over-indulgence.