1.0IFFR ENhttps://iffr.com/enrich600338<blockquote class="wp-embedded-content" data-secret="2MpRpNtur1"><a href="https://iffr.com/en/iffr/2001/events/exvoto-simon-pummell">Ex~Voto: Simon Pummell</a></blockquote><iframe sandbox="allow-scripts" security="restricted" src="https://iffr.com/en/iffr/2001/events/exvoto-simon-pummell/embed#?secret=2MpRpNtur1" width="600" height="338" title="“Ex~Voto: Simon Pummell” — IFFR EN" data-secret="2MpRpNtur1" frameborder="0" marginwidth="0" marginheight="0" scrolling="no" class="wp-embedded-content"></iframe><script type="text/javascript"> /* <![CDATA[ */ /*! This file is auto-generated */ !function(d,l){"use strict";l.querySelector&&d.addEventListener&&"undefined"!=typeof URL&&(d.wp=d.wp||{},d.wp.receiveEmbedMessage||(d.wp.receiveEmbedMessage=function(e){var t=e.data;if((t||t.secret||t.message||t.value)&&!/[^a-zA-Z0-9]/.test(t.secret)){for(var s,r,n,a=l.querySelectorAll('iframe[data-secret="'+t.secret+'"]'),o=l.querySelectorAll('blockquote[data-secret="'+t.secret+'"]'),c=new RegExp("^https?:$","i"),i=0;i<o.length;i++)o[i].style.display="none";for(i=0;i<a.length;i++)s=a[i],e.source===s.contentWindow&&(s.removeAttribute("style"),"height"===t.message?(1e3<(r=parseInt(t.value,10))?r=1e3:~~r<200&&(r=200),s.height=r):"link"===t.message&&(r=new URL(s.getAttribute("src")),n=new URL(t.value),c.test(n.protocol))&&n.host===r.host&&l.activeElement===s&&(d.top.location.href=t.value))}},d.addEventListener("message",d.wp.receiveEmbedMessage,!1),l.addEventListener("DOMContentLoaded",function(){for(var e,t,s=l.querySelectorAll("iframe.wp-embedded-content"),r=0;r<s.length;r++)(t=(e=s[r]).getAttribute("data-secret"))||(t=Math.random().toString(36).substring(2,12),e.src+="#?secret="+t,e.setAttribute("data-secret",t)),e.contentWindow.postMessage({message:"ready",secret:t},"*")},!1)))}(window,document); /* ]]> */ </script> The anatomy of the human body returns in all the films of Simon Pummell as a continuing obsession. From Surface Tension (1986) to Temptation of Sainthood (1993) and Evolution (1995), it looks as though each time he has primarily developed very different techniques to further liberate the human figure from its (conceptual as well as […]