A very thought-provoking layer congealing a well-executed setup and conceptually-rendered photograph.
The idea pulls the audience in, and they stay for the the detail and movement of the piece. The striding of small marks and scratches upon the wall and the swirling around the macabre body parts of this shot leaves the eye of the viewer with little rest. I felt like I had slept with this imagery after I had immersed myself in its idea; and that's a very good thing, by the way.
It is a clash of informality and formality, between subject and object, between humanity and machine, between geometric and organic shaping. The prevailing dark to light line from left to right in this picture is very sexy, as is the implied crossroads with the vertical line coming down from the top left.
The ambiguous permanence of the right leg acts as a signature for the piece's otherwise shyly expressive modernism. The sexual imagery of womanhood relishes the angst of the piece, and together they blend very well with the rest of the emotion oozing from it.
The sense of implied and actual motion is fascinating, as with the seemingly twitching leg and the aforementioned eye movement. The strange and curious shadowing is interesting as well. The blotched detail of the wall goes well with the haunting imagery of the dismembered body parts.
This piece is like if Picasso stayed up late watching horror films and started getting into photography. It's awesome, really. The only thing missing is something more daring, not to take away any of this piece's delicate simplicity, but something subtle and yet, upon its prolonged sight, horrid and shocking.
It's empty, hollow, and dreadful. Painful. There is sympathy with this prevailing throughout the work. It does this very well, regardless of whatever the artist's intentions originally were.