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Beautiful Decay in Crokes' Artwork

 


             The ideas put forth by biologist Midas Dekkers was another pull for her as he argued that things are at their most beautiful when they decay, provided they are given the chance. Although not in complete agreement with his thesis, Croke found the idea that, if given the chance to allow ourselves to age or 'rot' naturally, without alteration from new technologies, would we consider our natural decaying forms as perfect? Through researching the Gothic preoccupation with the Grotesque and the Monstrous body, she was able to create comparisons between her own research into modern self-representation and self-image and the subjects of Gothic Literature.
             Croke's piece incorporates the Gothic, and in particular themes of the grotesque and the monstrous body through her use of human decay. The Grotesque in this sense refers to bodies becoming, "spectacle, provoking disgust, modified, reconstructed and artificially augmented," (Spooner, 2006). .
             She explains that when we alter our appearance from plastic surgery or how Von Hagen used plastination on donated corpse, we present a replacement of the real. Her Portraits of decaying faces symbolise both an exaggerated natural decay of human flesh, and a blunt depictions about ageing. The Monstrous in this sense refers to the modern age bi-products of cosmetic surgery, which have been altered and augmented. As the Gothic itself is obsessed with human bodies, we as a culture are preoccupied with the artificially 'improving' ourselves and fighting against natures hand and thus, becoming modern age Frankenstein's. According to Spooner, Frankenstein acts as an archetypal human monster. "From plastination to plastic surgery, cyborgs to genetically modified foods, Frankenstein provides a readymade narrative" (Spooner, 2006). Frankenstein provides us with a metaphor for articulating the relationship we have between technology advances and nature.


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