Anastasia Booth’s practice has a strong emphasis on the fetishistic worship of the inanimate. Her works deal with an overt quotation of the sensual and anatomical sites of the body, not only through semiotics but also the documentation of an intense bodily engagement with materials. In these explorations an erotic relationship with materials is seen as a process in which to engage with formal and conceptual modes of art practice. Informed by Elizabeth Grosz writings about the body as site, her practice considers how the architecture of the body can become an archive for fetish interaction. Included in this investigate is the geography of the female artist’s body; as a material that deliberately blurs the boundaries between creator and construction, and as a vessel for the semiotics around sexual translation. One encoded with the significance of the performed female gender, making the artist body object, a site of material exploration. The practice explores how the duality of this position creates a site to develop fictitious characters and the ambiguous objects that pertain to their existence. Materials like leather, faux fur and felt are all considered for their relation to the body and become iconographic for an internal discourse about the artist’s body as archive, where tactile interactions are recorded through objects and performed gestures. This exploration is based in an autobiographical aspect and catalogues these materials relation to and process of the artists sublimated desire. Dialogues develop around the perceived desirability of these textiles and a bodily response based on their sensory properties.

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