While the eyes are the instrument of visualisation as described by Dona Haraway, they’re only an organic form of technology that help us to distinguish shapes and defines spatial orientation, but for me the eyes are little more than a lens for capturing light and provide no clues as the meaning of the elements we see.
The gaze, has often been discussed in pejorative terms as an oppressive mean by which elements are seen to be validated or rejected, but the gaze has come to be a principal rubric in the study of sexuality and identity.
I identify the gaze as corresponding the desire for self-completion through another, in a concerted distribution of bodies, surfaces, lights, a special arrangement whose internal mechanism produce the relation in which individuals are caught up.
In a world where characterised by sexual imbalance, pleasure in looking has been split between active/male and passive/female, the determining gaze is male and projects its fantasy on the female figure, women play the traditional exhibitionist role where they are simultaneously looked at and displayed and they appearance is coded for strong visual and erotic impact.
I reject the idea that the gaze functions largely oppresses women, while acknowledging the existence of the male gaze, since in a perspective post-modernist is not monolithic and all-powerful but subject to transformation.
The visibility is a major issue in the marginalization of non-preferred bodies and subjectivities, where the cult of the visual does not enhance visibility but actually hinders the possibility of resisting conventional definitions of identity, using strategies for subverting convectional identity today are not dependent on visibility politics but on avoiding the limelight and being unmarked, but there will be always blind spots, or meaning that exists beyond the visual effect attempting to locate a site of value for that which is not really there, or that which cannot be surveyed within the boundaries of social reality. By exposing the blind spot that lies just beyond that was we see, it may be possible, if we construct a way of knowing that does not privilege the surveillance of the body, visible or otherwise.
Artists working in such an overtly visual medium, how can one appear but at the same time avoid surveillance? This logical answer is thinking on hiding or dis-appearing as a viable strategy for modern artists, rather than directly engaging with and challenging the dominant representation of marginal bodies.