Two collections of lesser-known work by iconic photographer Cindy Sherman sewn together, The Vivisector examines the human form at its most vulnerable, pliable and downright mutilated; the result is fascinating, if a little on the side of disturbing.
The title of her earlier work, Sex Pictures, goes some if not all the way to explaining the subject matter, subverting the assumed erotic slant by the use of mannequins and prosthetics in its depiction of the body. Continuing the theme of self image in a thoroughly twisted manner is the monochrome second collection Broken Dolls, in which all manner of horrible fates have been visited upon the models by the photographer. If this were the work of a child, there would be some heavy duty psychotherapy in the offing.
Her spliced collection, on display at Grafton Street’s Sprüth Magers London, is joined by the surrealist creations of such artists as Morton Bartlett, Georges Bataille, Hans Bellmer, Bruce Nauman and Frederick Sommer, and will be accompanied by Offenbach’s unsuitably childlike The Doll Song, lending an eerie backdrop to the whole affair. On display until January 26 next year.