autoerotic, anatomical man with his exposed muscles and intestines, his
poses snatched from far-off mythological scenes, functions as a figure
of scientific instruction in a blank space. Repeated from various
viewpoints, the figure turns from frontal to profile view. Anatomical
woman sits improbably, her belly peeled open, a star-like fruit,
showing the foetus within. Through superimposition, Sina restores
strange narratives of passion, alerting us to the expressively of a
hand reaching out to touch, a finger placed upon a sex. 'Science'
rediscovers the language of desire which provoked the first anatomical
questions; neutral backgrounds become an intersubjective field
traversed by beckoning gestures which control a space now pregnant with
meaning. Hypotheses of homosexual encounter broach forbidden territory,
and are given graphic power with the intermingling of yearning looks
and delicately touching hands.