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Mike Parr’s exploration of
his self-image arose out of what he perceives as a metaphorical
‘castration’ in the form of a left arm missing from
birth. His early work consists of dramatic, self-immolatory performance
pieces. But in the course of his exploration of his self and body
images Parr’s artistic activity became extended into photographic
and sculptural installation and large scale intaglio prints.
Coulter-Smith’s analysis
of Parr’s Self Portrait Project starts out from Parr’s
deep involvement in psychoanalysis. But Coulter-Smith takes a
Lacanian route that interprets the Oedipal dimension of Parr’s
work in terms of the ‘mirror stage’. This leads into
a remarkable parallelism between Lacan’s interpretation
of perspective and anamorphosis and Parr’s use of these
devices as a crucial feature in his photography, sculptures and
intaglio prints.
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