The human form has been abstracted since the beginning of ART making. Because we are all familiar with what people look like, and indeed we are a widely variable lot, one can take great liberties with human form and it is still recognizable. I like to take these liberties.
Because the porcelain doll parts I start with are highly refined and beautifully rendered, the emotive gestures of the body are readymade. The smiles and nuance of a hand are already finished, and ready for me to insert into a situation completely different from what the original maker intended. The face is molded as innocent and sleeping, but when I attach it to a deformed co-joined twin, it takes on a different personality. Context rules!
Some of the parts are modern; some are 150 years old and dug by hand outside the refuse dumps of 19th century factories in Germany. I buy them on eBay after someone’s grandmother dies, and it is resurrection central in my studio as I Frankenstein them back together into disturbing friends of my imagination.