In the performance Air Doll, the author’s body is a stage and playing prop. It is set in a sterile environment, isolated and limited by bright walls. Two openings on the author’s body dominate: the oral and the vaginal. Both are isolated from the rest of the body which is covered by a latex costume of a pale skin shade, and reminds us of a blow-up doll. The author’s body, which is fixed during the performances, is reduced to these two openings. The performance points to moments in life that are dominated by pain, fear, and sometimes too much communication (which is now minimized). Reducing everything to two openings, two plows, two vents. The viewer is given the chance to mis (use) and sodomize “the dead body” in which there is still will and energy. No twist is expected in the performance because the psyche of the laid body is twisted. Air Doll deals with the topic of misuse of sexuality in reaching temporary relief, the human endeavor to have a union with someone else, to receive understanding and self-confirmation.

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