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NIMROD
Nimrod
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Series of Metal Sculptures, 2014–ongoing
Polished Stainless Steel
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In Nimrod, form is stretched between myth and desire. The sculpture evokes a bow about to release, a restrained arrow, a pole dance tube bent by a force that folds it, pierces it, erotizes it. Its metallic structure, polished like a mirror, reflects not only the viewer but also a scene of submission and excess—an impossible penetration that leaves a mark on the steel.
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Inspired by the biblical hunter—an archetypal symbol of dominance, virility, and ambition—these pieces deconstruct the notion of the male body as the center of power. Here, the hunter becomes the prey, the tool is deformed, and the heroic gesture turns into a choreography of vulnerability.
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The sculpture does not represent—it suggests. It does not illustrate—it wounds. It is at once weapon, phallic totem, pleasure device, and symbolic ruin. At the intersection of opposing forces—between straight and curved, rigid and yielded—Nimrod offers a contemporary vision of masculinity: fragmented, performative, and profoundly ambiguous.
Nimrod extends an ongoing investigation into masculinity as both art and artifice—an inquiry that began in 2007 with a radical experiment in subjectivation. In it, the artist offered himself as an object of desire and analysis: an embodied ethnographer exploring the circulation of the male body oriented toward female consumption. From that gesture—Bridegrooms Stripped Bare by Their Bachelorettes—emerged a series of paintings based on photographs taken by women, installations such as the Bodygroom Bars, and works like The Size of My World and The Measure of All Things, where intimacy became archive, and the external gaze transformed into visual form.
Nimrod picks up that thread and forges it in steel: the body is no longer displayed—it is stretched. From eroticized flesh to polished form, from desired surface to wounded volume, masculinity is rendered here as a field of force—between weapon and symbol, rigidity and curvature, heroism and vulnerability. A sculpture that does not represent but performs: fragmented, ambiguous, and profoundly public.
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