A muscular horse. A coral in section. A distended plinth. Suburban Australian vernacular. Human skin. Lightness. Weight. The lightness of a plastic table, the inevitability of its crushing demise, the bodily sensation of this inevitability, almost the very sound of buckling under the weight. The lightness in the slenderer of the two descenders, a resting arm, a child’s thigh. A heart dissected. The hammer, anvil and stirrup reimagined as ventricular glasswork. The potential for movement. Complexity, organism, abstraction. Orifices unexplained, enveloping, not gaping, inviting. Living conduits interrupted. Tapped ends, classical form. Vagina, penis, eye, ear, muscle. One clean break suggesting articulation, a point of potential movement, no doubt serving some practical purpose. Aporetic composition. Intricate marrow, the living tissue inside solid bone. Flow as the basis of strength, of all that is solid.
Hany Armanious Fountain (2012)
Commissioned by the Museum of Contemporary Art
On long-term loan to Heide Museum of Modern Art
My reflection and photographs made on 11.04.2015
ESTHER ANATOLITIS 