Bellmer considered his works to be a conscious act of defiance against German fascism with its cult of “the perfect body”. He created and photographed two life-size pubescent dolls, which he distorted, dismembered, or menaced in sinister scenarios that sometimes included himself. These scenarios seemed to be nightmarish manifestations of a journey into his unconscious.
I keep wondering what was there exactly that this Polish-born (1902 Katowice), German-blooded and French-based & buried (1975 Paris) artist had been trying to mutilate and to sodomize with such a passion… One or the other part of his multi-national identity? Surreal tragedy of his paranoid, violent times? Or maybe ‘just’ the black hole of his own psyche, the Jung’s ‘shadow’ – that ‘invisible saurian tail that man drags behind him’ and dreads the confrontation more than anything in his life?
I won’t find out for sure…perhaps all the questions bear a seed of an answer in them… What I find fascinating about Bellmer’s artistic exploits is how his dolls can function ambiguously in two contrasting realms: one is the sphere of extremely wounded, violated innocence and fragility – a dismal betrayal, some bestial deeds… The other side of the same coin is these dolls’ hyper-sexual appeal as they are misogynously portrayed as alluring and dangerous man-eaters, who need to be tamed by dismantling them to pieces… Transgressive and sexist odor of this art is as important as the normality (so-called) it yearns for by subverting it.