The Statue as Stand-in

Bryan Crockett, Pinkie, 2001
Bryan Crockett
Pinkie, 2001
© Courtesy of the Artist and Lehmann Maupin Gallery, New York

This ending of the socially destructive practices of human and animal sacrifice, burial of precious goods and the replacement of them by sculptural stand-ins, probably came from necessity, yet it established the idea of sympathetic magic, that the image of something could function analogously to the thing itself.

The image was a tool, useful but dispensable, a kind of labour-saving device. The Egyptian dead, their bodies mummified to ensure their physical presence in the afterlife, had psychically to split themselves in order to deal with this fact - a premonition, perhaps, of the current notion of a non-pathological, schizophrenic psychology.

Physical presence in the after life also meant that physical labour was expected. Image magic was used to escape this commitment. A small statue called an ushabti figure was buried with the dead. The purpose of this figure was to do your labour for you; when you were called upon to work, the ushabti answered. A kind of double was created, a shadow of yourself bound to perpetual slavery. All popular sculpture – from votive sculpture, which is a representation of the person making sacrifice before a god, to the most mundane worker replacement, like the scarecrow or shop-window mannequin – has this plebeian quality.
Allen Jones, Chair, 1969
Allen Jones
Chair, 1969
© Allen Jones