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Report inappropriate content. Related: What are the most popular tours in Chicago? See all. Best Seller. Chicago Architecture River Cruise. Gangsters and Ghosts Tour in Chicago. Destination Expert for Chicago, Illinois. Re: Shaws vs. They may not have the realism of a photograph, but they inhabit our space and in doing so they cause our bodies to tingle and recoil at their physical proximity and unsettling appearance, filling us with that involuntary frisson of neurological energy that is produced in moments of terror and uncertainty. As a seven year old boy, Shaw had experienced such a moment of terror.
The wail of sirens rings out from loudspeakers. The floor is covered in overturned tables, chairs, old clothes and shoes.
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On the walls we can see the shadowy forms of slowly running people, whilst dinner trays spin through air filled with a blue haze. But like memories that become distilled and crystallised over time, this is no longer a specific representation of the centre of Belfast on a July afternoon but something more universal: it is an invitation to journey into the heart of terror, when the world slows down, everything becomes more intense, and we stand momentarily rooted to the spot.
They appear unreal, and yet they have a familiarity that stops them being mere caricatures, for as much as they push the boundaries of the human form they still conform to basic principles of classical modelling and proportion. And this is what makes them so disturbing: they are human enough to evoke empathy, but inhuman enough to disquiet and terrify. When seen from a car window abandoned bundles of fabric are merely anonymous flashes of colour.
When reanimated into breath-less life by Shaw, they are once again items of clothing. As his figures loom over us in a sinister claustrophobia of complicity, they force us to stare at pillows and items of clothing that feel stained with the presence of their previous owners. Although their subject matter may be universal, their fabrication brings them back to the particular and personal.
One of the most unsettling of these life-size fabric figures is the tarred and feathered woman in Alternative Authority. Shaw made her after reading several newspaper articles describing the employment of this archaic punishment during the Troubles in Northern Ireland.
He was not only intrigued by its continued use, but also by what it was that made it such a powerful and disturbing form of retribution and punishment. As we look at her slouched, bound and pathetic figure, covered in viscous black tar and a cloud of white feathers, we see a chimera. She is no longer human, but a human-bird hybrid.
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And as we stand in the place of the jeering crowd, Shaw invites us to consider the ritualised act of exclusion that has set her apart from society and normality and made her an ostracised, outlawed figure. There is a sense of ambiguity to this figure though, which is also present in Soul Snatcher Possession. Here is an ominous situation bristling with a sense of imminent threat that most would avoid. A hooded figure stands hemmed in and encircled by three figures, whose intimidating proximity and aggressive body language suggests something sinister about to take place.
Observing the dynamics of power and powerlessness, weakness and strength within the group we instinctively make judgements that decide who is the victim and who are the perpetrators. But this assumption is all in our mind.