You are constantly becoming; constantly performing.

"Gender is a performance that produces the illusion of an inner sex. It produces on the skin, via gestures, movements etc."

Judith Butler

"Orlan chose Mona Lisa, Botticelli's Venus, Diana, Psyche and Europa as the icons from which to compose her new identity as a woman because she loved their images. She did not want to resemble them visually, but she admired and wanted to associate herself with the qualites of their character - androgyny, carnal beauty, temerity and aggressivity, fragility and vunerability and fascination by adventure and the future. To Orlan, her female icons were (homosexual) love objects she could not personally know, but who have certainly played a part in the ongoing construction of her identity as a woman."

Kate Ince, 2000

After a summer of almost relentless bleak and morbid 'DESTRUCTION' research. This video comes as a welcome break from the dark stuff. A key example of abstract narrative, whilst also looking incredibly sexy.

“In encountering Cindy Sherman’s film stills, rather than feeling closer to knowing who they ‘really’ are, we are made aware of the impossibility of grasping this essence – and thus of there being an essence to the subject at all (much less one that can be transparently rendered or represented).” (Jones, 2006, p.165)

They can't scare you, if you scare them first.

Lady Gaga

"The reader may now ask how i define womanliness or where I draw the line between genuine womanliness and the 'masquerade'. My suggestion is not, however, that there is any such difference; whether radical or superficial, they are the same thing."

"Mark Titchner's work is about belief, a recognition perhaps that the human spirit has infinite potential but is for the most part making do in a crappy world"

Titchner's work deals with the questions of identity, human nature and the unlikable aspects of our personality. He deconstructs, or destroys, our understanding of the things around us. His ideas are infectious, they began to tear away at the stability of the mind and make us question the topics he presents. But can an idea really cause irreparable damage?

What has the power to destroy the human mind?

'Does an artist have the right to turn the dead into aesthetic objects of contemplation?

Could it be the thrill of staring into the abyss from a position of comfort and safety?'