In Labor

In Labour begins with a mismatch. One object is built from a mannequin abdomen, the other from a cast taken directly from Kasprowicz’s ass. The first carries an anonymous, manufactured version of the body; the second keeps the irregular specificity of her own.

Pregnancy attaches itself easily to the mannequin belly. Its rounded form already offers the outline of a body expected to contain something. The silver cast disrupts that expectation. Here, the face appears where birth should not be pictured at all, shifting the work toward the neighbouring bodily logic of excretion. The diptych lets those associations contaminate one another rather than resolving them into a correct anatomy.

Gold and silver shift the objects into another register. The synthetic abdomen acquires an almost devotional splendour, while the cast of an ass becomes unexpectedly ceremonial. Both surfaces are interrupted by red material gathered tightly around the faces. It reads less as ornament than as something the faces have had to pass through.

Within Shekhinah in Labor, pregnancy repeatedly exceeds reproductive realism. Bodies carry, release, break and produce forms without following a single biological script. In Labour pushes that displacement into the structure of the body itself. A commercially fabricated belly and the imprint of the artist’s ass become capable of the same impossible act: producing a face.