cunt prints




cunt prints – a collection of works:


Blue Danaé 1 & 2 1998
cunt prints 2013
georgy girl 2016
fanny fans (work in progress)



cunt prints: 2 series of gouache body prints on paper – 30 sheets 24 x 32 cm

Series 1: 15 prints, gouache colours: medium yellow, leaf green, red orange, blue lake, brilliant red, on watercolour paper (natural white, acid-free, lightfast)

Series 2: 15 prints, gouache colours: turquoise bluish, crimson, ultramarine, lilac, burnt sienna

Insurance value (30 x 500,00) 15.000 Euros

Framing: maple, glazed white, with spacer strip



The original cunt prints, series 1 & 2, which were produced on Xmas Eve 2013 are a celebration of femininity, at a time in life, when it is apparently considered taboo for a woman to flaunt her sexuality, to show her colour beyond the menopause.

The inspiration came after observing my cunt prints from vaginal fluid and/or semen on dark shaded bed sheets, sometime during 2011, the year in which I turned 60; and I imagined such cunt prints, like fingerprints, an essential part of me, would be impressive as a stylised artwork. Like lipstick, lip prints on a serviette, collar or, love-letter, these cunt prints are a fleeting sign that one has lived.

Testing the idea out by mentioning it to a couple of male friends in their forties, the reaction of exasperation from both caused me at first to doubt the credibility of the project, but it also reassured me of the importance of such a feminist statement. There is a history of body painting and body prints, the most memorable being Yves Klein’s blue body prints, of women in the late 50’s early 1960’s.1

Despite the IKB paintings being uniformly coloured, Klein experimented with various methods of applying the paint; firstly different rollers and then later sponges, created a series of varied surfaces. This experimentalism would lead to a number of works Klein made using naked female models covered in blue paint and dragged across or laid upon canvases to make the image, using the models as "living brushes". This type of work he called Anthropometry2.3

In her Website blog of 2011, Kirstin Russell, of the Walker Art Centre in Minneapolis (USA) cites Yves Klein’s own attempt to explain his use of the female nude:

Certainly the entire body consists of flesh, but the essential mass is the trunk and thighs. It is there that once finds the true universe hidden by our perceptions.4

This is the perception of a male artist who, while creating innovative artwork, did not call into question the objectification of a woman by exploiting her for art purposes.

“In 1976 (…) Lucy Lippard addressed the continuing broad dismissal of woman’s art work: “Men can use beautiful, sexy women as neutral objects or surfaces, but when women use their own faces and bodies, they are immediately accused of narcissism”.5

With cunt prints a “model” creates her own body prints, moreover from between the thighs, where a “true universe hidden by our perceptions” is revealed.



1 This colour, reminiscent of the lapis lazuli used to paint the Madonna's robes in medieval paintings, was to become famous as International Klein Blue (IKB)


2 For example Anthropométrie de l'Époque bleue (2'26) 
March 9, 1960
 Galerie internationale d'art contemporain
253, rue Saint Honoré, Paris, France “Anthropometry (Greek anthropos (άνθρωπος - "man") and metron (μέτρον - "measure") therefore "measurement of man") refers to the measurement of the human individual”




4 Walker Art Center - Feminism and Yves Klein’s Anthropométries, by Kirstin Russell’s-anthropometries/


5 Rebecca Schneider, p. 35 “The Explicit Body in Performance”, New York Routledge 1997, quoted in Performing the Jewish Body in Contemporary Germany by Juliette Brungs, 2013, (unpublished) dissertation at the University of Minnesota (USA)