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It feels like witnessing a well-lit, self-administered rebirth. In the other image, a more primal scenario, Segbedzi’s shaved, blood-smeared head crowns. The artist’s bloody hands stretch the orifice open from the inside-a gory inversion of the arse picture-to fix me in place with a single, beady eye. In one, featured on the poster advertising the show, Segbedzi’s face is partially visible through the pink flaps of a silicone vagina.
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Two adult appropriations of the German photographer Heji Shin’s Baby (2016) series are particularly arresting. Installation view, Sex is (censored), 2020, Guzzler, Rosanna. In the Rosanna gallery, the glossy pictures are mostly of flesh (plastic and/or real) arranged in staged contortions: a man’s arse held aloft and stretched taut by a pair of disembodied hands Barbie embracing a Ken doll with a plastic penis in the place of his head an elaborate crucifixion of a woman in a neon-yellow thong, framed by a bouquet of acid-bright plastic flowers.
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Segbedzi had recently returned to Melbourne after a stint in the US, presenting a solo exhibition at Jenny’s in Los Angeles in mid-2019 and assisting the artist Mathieu Malouf. A photography show by the artist Zac Segbedzi is on. I follow him through the house, down the garden path and into the gallery-shed. As he turns, the small of his back appears through a gigantic tear in the back panel of his shirt. “Come in, come in, come in”, he says, bobbing up and down slightly. He looks like a handsome human cigarette. Homewood is rakish and bespectacled, wears a pinstriped shirt buttoned to the collar and has a chain smoker’s complexion.
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The first time I go to Guzzler, the art historian David Homewood answers the door.