Abortion

This work operates through violent fragmentation and symbolic compression rather than narrative illustration.

• Central pregnant figure

The woman is present but unstable — her body is sketched, pierced, crossed by rigid straight lines. These lines read simultaneously as:

• surgical instruments

• crosshairs

• ideological axes

• moral vectors imposed from outside

Her pregnancy is not celebrated or sentimentalized; it is targeted.

• Circular geometry

The large, faint circle surrounding the figure evokes:

• a womb

• a halo

• a political arena

• a target

The circle never closes cleanly, suggesting a decision that cannot be resolved without rupture.

• Red and flesh tones

The reds are not decorative — they smear, drip, interrupt. This is bodily paint, closer to stain than color, echoing blood without literal depiction.

• Kennedy reference

The presence of JFK introduces American mythmaking, masculinity, power, and martyrdom. Kennedy functions here not as a person but as:

• a symbol of male authority

• a face of public morality

• a political body that never carries consequence in flesh

• Marilyn Monroe echo

Marilyn’s implied presence links:

• sexualized womanhood

• reproductive expectation

• public consumption of female bodies

Together, Kennedy and Monroe form a mythic heterosexual power loop, hovering over a woman whose actual body must absorb the consequences.

• Piercing lines

The straight lines literally violate the organic curves of the body. They read as:

• law

• doctrine

• ideology

• state violence

• medical intervention without agency

This is not about choice as abstraction — it’s about invasion.