One of veiled gaze and another of passive mutilation.

Two bodies that sit in abjection, monumental forms containing both averted and confrontational gaze. The two work in narrative conjunction, through confrontational monumentality, through recognizable stimuli. Through the suggestion of the feminine body as a vessel for desire and creation. 

One may discover the phrases but not understand them. Repeat, and maybe you will understand. Am i the only one who can see the beam in the sky? Repeat. 

Abjection from the maternal body is a signifier of bodily autonomy; reliance on milk, on nurture, slowly evaporates until a complete, self-fulfilling form discards the withered body that once nourished it. The womb is no longer needed, the milk dries, and all that is left is a vessel. A body that was once useful, now obsolete. Abjection is elaborated through a failure to recognize the familiar, a warm fabricator of flesh that once stood between the body and death.

The vessel as a site for creation or a raw imposition of desire. 

Aging bodies, engaged in a moment of passive mutilation. Reflecting the impermanence of human bodies and the fleeting role of feminine skin as a site for desire. A tattoo is permanent to the flesh, but one day the flesh will cease to be. Selfishly, humanity assumes its permanence. 

Repeat forty four times until language erodes and recognizable stimuli are no longer recognizable.