Patterns of Sensation – the bodies of dolls by Salma Caller

Silk Velvet Purse Doll

Tiny invisible stitches hold rivets that hold rivulets
Of silk ending in the darkness
Where dreaming continues
The sleeping and dreaming of her invisible body

Silk Velvet Purse Doll

 

A mille-feuille
A body of a thousand layers
A thousand gauze tissues
A thousand substances
Concealing a darkened chamber
Entombing
A heavy velvet pouch
Profligate sensual reclining body feeling inwardly
Reaching caressing touching exploring the textures of the inside of a dark and empty space
Where nothing is also everything
A costly ornate body of sensation
Silk velvet skin silk thread silk tassel nerve endings
Silent silken hair spreading
A dense and tactile embroidery surrounds her slits tips lips edges and borders
Wires closely over-sewn create
Her ribs
Brushing stroking heating and burnishing
Made a body that is close textured lustrous gleaming and smooth
Intricate and laborious twisting and twirling of twines
Tiny invisible stitches hold rivets that hold rivulets
                       Of silk ending in the darkness
                       Where dreaming continues
                       The sleeping and dreaming of her invisible body
That dreaming heavy velvet body
Held in the darkness by a skin of sound
Pearl fastenings fasten her breast
                                                    Silk velvet velvet silk
Threads pulled tightly holding her in holding her inwards
Net gauze tissue
Lace wire mesh
Feathers
Locks of glossy hair
Fine shimmering strands of metal thread
Seeds metal beads sequins
A weaving of delicate traps that subdue mesmerise and enclose
Hiding her in intricacy and leading to labyrinths of the eternal

Chinking of bells
Clicking of shells

 

 

Tiny invisible stitches hold rivets that hold rivulets
Of silk ending in the darkness
Where dreaming continues
The sleeping and dreaming of her invisible body

 

Where nothing is also everything
A costly ornate body of sensation

 

Seeds metal beads sequins
A weaving of delicate traps that subdue mesmerise and enclose
Hiding her in intricacy

The Shell Bell Shaking Doll

 
(Aluminium silver wax fur hair beads glass twine carved wooden body musk leather lace shells bells)

She was a multi-purpose object
And made a variety of textural sounds
Chinking of bells
Clicking of shells
The dull thud of organs suspended within a hollow
Their deep and heavy percussion
Reverberating
Tasselling around her
Prickling
Metallic fragments
Sound out from pale bells
And whitish shells
A chalky body
Carved and curved
Arching over
Her painfully embroidered beaded fabric heart
Lungs of lace rustling
Under a dome
Her shells and her bells
Rang out in another realm
Skeins of silvered twine
Slivers of shivering glass
Pelts of soft fur that cannot warm her
Hand strokes of paint are
Memories of a gentle touch
An aura of sound and movement
Are shaking out of her still

She was a multi-purpose object
And made a variety of textural sounds

Chinking of bells
Clicking of shells

The dull thud of organs suspended within a hollow

The Unravelling Glassfire Doll

Her painfully embroidered beaded fabric heart
Lungs of lace rustling
Under a dome
Her shells and her bells
Rang out in another realm
Skeins of silvered twine
Slivers of shivering glass

 

Myriad

 

Myriad of the hollows
With an eye in every cell
Splitting and spitting
Seeds and jewels
Saint of the hollows
Myriad of the Sorrows
The vessel of the body curves about a sacred hollow of emptiness
Out of which a carved voice unfolds
 
That dark pod concealed with a shimmering Membrane
 
Infinitely embracing each pip
 
Myriad Miriam Maryam Madonna of the Pomegranate
Resurrection of shadows.

Net gauze tissue
Lace wire mesh
Feathers
Locks of glossy hair
Fine shimmering strands of metal thread

About Patterns of Sensation – the bodies of dolls

This series of works on paper by artist Salma Ahmad Caller, explores the notion of the female body as an idea that is constructed, made like a folk doll’s body, from materials both real and imagined. The folk doll or fashion model is patterned and marked by how a society thinks about femininity. Each material used to make ‘her’ carries it’s own set of cultural notions, sensations and associations. ‘She’ is often ornamented with patterned textiles, jewels, silk, velvet, embroidery, pearls, shells, tassels, bells, or associated with flowers, fruits and fertility, or with lace, nets, knots and webs, creating textures that carve ‘her’ body into zones of social and sexual importance.

Forces of cultural and social expectations mark and carve our bodies but also the things we touch and feel are etched onto us, mapping zones and patterns of our experiences, our traumas and losses, our sensuality and feeling.
Bringing the biological and the ornamental together to subvert the usual imagery of the female body, Salma uses decorative and ornamental forms, arabesques, whiplash and sinuous lines, and curvilinear shapes in her work, as a language of the biological sensational body, to try and capture the body we feel not the body we think we see.

The shape of the bodies of the ‘dolls’ in this series is based on the paisley tear drop shape or Boteh. An ‘Eastern’ ornamental form that has travelled and transformed across time. It has complex origins in many cultures, mainly from Iran, Azerbaijan and India and now has many connotations, of colonial trade, and a feminised and orientalised idea about ornament. Yet it had a previous changing life of meaning across cultures, symbolising or embodying concepts of eternity, life, of humility, of being bent under the weight of conquest, a fruit, a seed, a pine, a flower, a tear, that were not reserved for the feminine only.

These works on paper have been made using graphite, Indian Ink, collage, watercolour, acrylic and gold pigment.

The Infinite Body Of Sensation; visual poetry by Salma Caller

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