You do not currently have permission to view the full text for this document. Please sign in to an account with an active subscription or contact support.
Armed with clay and a camera, Nathalie Djurberg propels the viewer into a visceral and primitive world of human destructiveness and desire. It's the Mother hones in on the effects of unchecked infantile probing, prodding, and invasion on the maternal body. Melanie Klein's ideas are germane in considering this work, in particular the idea of the depressive position struggle (in this case for both the viewer and the artist) around reparation for what is wrought by destructive impulses.