This work stages male legs as fetish, procession, entrapment. A skeletal structure cages walking limbs, carrying the weight of absent bodies. The white veil drapes like both milk and sperm — nourishment, creation, taboo. The legs suggest motion, group ritual, but they are simultaneously static, trapped inside a frame meant to display and restrain.

Drawing on Pierre Molinier, I take up fetishism of the male body, especially legs as erotic objects—Moliner’s collages and photographs often toyed with hybridity, costume, mask, and the erotic gaze, imagining the body unbound by strict gender binaries.

Also in conversation with Louise Bonnet, whose absurd, distorted figures exaggerate flesh and form—her work’s wit and melancholic tension, its exaggerated limbs and bodily fluidity, resonate with the overlapping presence and absence in Entitled Legs.

As with Louise Bourgeois’s enclosed cells, protective yet painful, this structure interrogates how the body becomes both agent and exhibit. The cage is a frame of surveillance, ritual, and inertia. The legs carry limbs that are missing, hidden, or implied—like ghosts in procession. The work asks: what does male identity look like when objectified, when boxed, when the biological and symbolic bleed into fetish and ritual?