Keep Your Hands Off Her is a monumental silicone sculpture of a vulva, marked with red and white warning tape: “Handle With Care / Fragile.”

The work presents the female body not as an aesthetic symbol, but as a material reality—vulnerable, fraught, and politically conditioned. The industrial tape crosses the body as a boundary marker: protection and indictment at the same time.

This work aligns with this tradition by not aestheticizing the body, but presenting it as a fragile, politically charged object—marked with the universal warning label “Fragile.”

The tape functions as both a logistical signal and a social alarm: handle with care.

In the tradition of artists who use the body as a battleground —> as with Damien Hirst, the body is approached here not symbolically, but literally and materially.

Hirst’s dissections of animal bodies and his formalin installations dismantle our illusion of control over life and death.

Like Marc Quinn, Hermann Nitsch, Andres Serrano, Francis Bacon, and Maurizio Cattelan, this work connects physical materiality with moral urgency. The tape functions simultaneously as protection and indictment: a logistical signal that transforms into an ethical demand. <—

Why this work is important in contemporary emerging art

1. The body as a biopolitical battleground
At a time when reproductive rights, female genital mutilation, and femicide are once again urgent themes worldwide, this work explicitly positions itself within the biopolitical debate. The body is not depicted here—it is claimed. The sculpture functions as a monument to bodily autonomy.

2. Monumentality without aestheticization
Where much contemporary figuration balances between aesthetics and statement, this work rejects seduction. The scale is confrontational, the materiality raw and fleshy. Silicone—at once medical, industrial, and skin-like—creates a tension between clinical distance and intimate reality.

3. Institutional Relevance
Museums and leading galleries are increasingly shifting towards themes such as gender, identity, postcolonial critique, and human rights. Keep Your Hands Off Her not only aligns with these discourses in terms of content; it also possesses museum qualities: monumental, iconic, photographically powerful, and spatially dominant.

4. Dialogue with the Canon, but with an Explicitly Feminist Voice
The work engages with artists who use the body as an existential arena—such as Damien Hirst, Marc Quinn, and Francis Bacon—but shifts the focus from mortality to control, from dissection to autonomy.
Here, the female body is not analyzed; it demands protection and respect.

5. Neo Spaziale Mobile: Spatial Ethics
Within your Neo Spaziale Mobile practice, the work takes on an additional layer: 360° rotatable, open, and visible on both sides. No perspective is definitive. The viewer must move, choose, and position themselves. Autonomy is experienced spatially here.

Why “Keep Your Hands Off Her” is urgent now

Emerging art today is judged not only on formal innovation, but on ethical urgency and discursive relevance. This work embodies that shift.

It does not document violence.
It does not depict a victim.
It claims space.

It is a sculptural manifesto that refuses neutrality and demands responsibility.

For museums, leading galleries, and progressive collectors, Keep Your Hands Off Her represents a rare combination of:

iconic visual power

social engagement

material persuasion

and institutional relevance

It is not an object to be consumed.
It is a work that asserts a position.

 

Price upon request.