Richard Ansett

 

© Richard Ansett

Doll’s House

Dolls and figures give us a way to act out the scenes we see in everyday life.  We can bathe, change, feed and cuddle our baby doll mimicking the way we nurture her.  We can build a home or safely explore the emotions of separation. We might act out real life scenarios that are on our mind, working out things.  We might practice empathy when caring for an injured or hungry figurine. In observing our inner child play in these ways we’ll be opening a new window. Dolls and figurines allow us to create whatever world we want in that moment.

We love all sorts of dolls. Some of us really enjoy those that are very life-like and made of materials that are rubbery, while others appreciate lighter rag dolls. Dolls that have a lot of hair or difficult clothing can be a bit of a pain but we love these types of dolls and the associated grooming activities too. Some of us love our dolls so much, we want to become them.

“The model laid the Bobo on its side, sat on it, and punched it repeatedly in the nose. The model then raised the Bobo doll, picked up the mallet, and struck the doll in the head. Following the mallet aggression, the model tossed the doll up in the air aggressively, and kicked it about the room. This sequence of physically aggressive acts was repeated three times, interspersed with verbally aggressive responses.” – from Alfred Bandura’s experiment on aggression, 1961.

“When I was a little girl, my Barbie dolls were always dying. I can remember being about six years old, and performing Barbie funerals… If it was an old Barbie, I would pop off her legs, so it would just be the Barbie torso…I was like the Angel of Doll-Death.” – Regina Barreca PHd.

“It is quite understandable for someone struggling with feelings of loss — possibly a childless woman, or someone who has lost a baby — to fill the void with a realistic doll baby.” – Dr Gall Saltz.

 

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© Richard Ansett

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© Richard Ansett

 

© Richard Ansett

Go to Documentation: Artificial Arsehole

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© Richard Ansett

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© Richard Ansett

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© Richard Ansett