Who is Orlan?

The Reincarnation of Saint-Orlan, which started in 1990, involved a series of plastic surgeries in the course of which the artist started to morph herself with respect to some of the most well known historical paintings and sculptures. Supported by her Carnal Art manifesto, these works were filmed and broadcast in institutions throughout the world, such as the Centre Georges Pompidou in Paris and the Sandra Gehring Gallery in New York. Orlan's goal in these surgeries is to acquire the ideal of beauty as suggested by the men who painted women. When the surgeries are completed she will have the chin of Botticelli’s Venus, the nose of Gerome’s Psyche, the lips of François Boucher’s Europa, the eyes of Diana from a sixteenth-century French School of Fontainebleu painting and the forehead of Leonardo da Vinci’s Mona Lisa. Orlan picked these characters, “not for the canons of beauty they represent… but rather on account of the stories associated with them.” Diana because she is inferior to the gods and men but is leader of the goddesses and women; Mona Lisa because of the standard of beauty, or anti-beauty, she represents; Psyche because of her fragility and vulnerability within the soul; Venus for carnal beauty; Europa for her adventurous outlook to the horizon, the future.

Many feminists have called Orlan an anti-feminist due to her goals and the means of reaching them. Instead of banishing cosmetic surgery, she embraces it; instead of rejecting the masculine, she incorporates it; instead of define her identity, she wishes for it to be “nomadic, mutant, shifting, differing.” She negates both patriarchal culture and the feminist ideal by creating her own identity for the future. As Orlan states, “my work is a struggle against the innate, the inexorable, the programmed, Nature, DNA (which is our direct rival as far as artists of representation are concerned), and God!”

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