I wish to express my astonishment at reading the article you posted: "Femalic Molds" by Jean Clair (translation by Taylor M. Stapleton). Originally published in 2000, which translation you published in 2003.
Of course, I am aware of the interest in the fourth dimension of the Modernists, particularly with reference to Salvador Dali's Christus Hypercubus, etc. and I have studied Duchamp's Green Box since 1977.
I certainly recognize the influence of ideas on the fourth dimension in Cubism and of the cinema on Nude Descending a Staircase, but I had no idea of Duchamp's ideas regarding the male and female figure and the fourth dimension.
I find, therefore, that I have created more of an homage to Duchamp than I had originally intended in my work, "Botty Shelly" (1999-2005). Here you see appropriated art and found mathematics. In 1999, when I
conceived of this work, I consciously placed it as though it was the Female Fig Leaf set atop Botticelli's seashell. However, the Etruscan Venus is, itself a form of the Klein bottle. This aspect became increasingly important to me. I remembered a story I read in National Lampoon (of all places) in 1978 which described an IUD (Intra-Uterine Device) of the form of a Klein bottle.
It functioned by sending the male emission through the fourth dimension. I came to realize, therefore, that "Botty Shelly" was really the uterine opening -- Annie Sprinkle's "Public Cervix" -- rendered as a vessel of