“It’s in our unattended moments that we allow ourselves the freedom to contemplate the object,” Hansel says. “We allow ourselves to flirt with our demons; to be seduced by them. Pursuant to this point, the critic Pear Salabert wrote, ‘The redemption of the flesh through the raw materiality present in art can lead the spectator to a state in which his physical or moral integrity is altered. The object is the process, always in transit, which dominates the obscene instance of the object. That’s why the subject is drawn to it, instead of rejected, in a sort of ‘seductive disgust.'”
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