On the border between attraction and repulsion are Jason Briggs’s porcelain sculptures. Clearly allusive to a sexuality to be discovered. The artist invents amphorities fused together and allusive to the various sexual characteristics of the female and male body. Briggs gives life to porcelain sculptures that attract you to touch them but on the other side they repel you from doing it at the sight of white meat compressed and squeezed by corsets, which they explode orifices and sexual organs fused and confused together in a delirium of fetishisms with grotesque effects.
But his unbalanced conglomerates of folds, swollen, garters, skin, hairs, meatis, nipples, pores, clitoris, represent all the dark side of eros, the unpleasantness of certain close physical contacts of the fourth type. The effect of interdiction between rational tactile drive and instinctive mental repulsion. On the other hand, the action of these works is always intertwined bidirectional, because they generate an effect that is both natural and artificial, figurative and abstract, realistic and surreal, erotic and anti-erotic, provocative and – why not? – even in its decorative way.