Systems skeleto-muscular: I have a photocopy of the anterior and posterior views of skeletal muscles of an anatomical figure sitting on my desk, physically cut-out and scrunched up. Like little puppets, I manipulate them into a three dimensional shape. The structure of the body has been broken. This altered system of limbs, bone and muscle presents the body compacted. The body, in this state, is interpreted and documented again and again. ‘From morceau’ references what Rodin recognised as the “emotive power of the fragment and the partial figure.”1 This may also mean fragment or morsel. Through a process of deliberately misusing materials, within the form of woodcut relief printing, forms and medium become distorted. The print medium is polluted. This process has resulted in ink stains bleeding from one print to the other, as an additional, seemingly endless process of trace and repetition; where impressions of the corporeal fade and reemerge. Each work is a unique image, edited and assembled into a montage to create a plural gesture.2

1 Versus Rodin: bodies across space and time, Leigh Robb, Russell Kelty, 70. 2 Images in Spite of All, Georges Didi-Huberman, 135.