The clearest example of Cooper’s exploration of the limits of the body, which permeate her work, is perhaps the introduction of the arms and legs of a new body, one that turns away from what is considered beautiful and stands in sharp contrast to the polished images of white women. The eerie interactions between perfect and imperfect bodies facilitate new layers to her work that engage more explicitly with questions around the limits of beauty.

Whereas her subjects always show a certain struggle against themselves, they’re now faced more directly with infringements of their perfection. With blood or other wounds, they engage with the limits of what our bodies can perform: the struggle against and the perfection that’s implied in every scroll through a timeline. Starting in November, Cooper will show new work in the Freedom of Movement show at the Stedelijk Museum in Amsterdam.
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