This sculpture draws directly from the visual language of the original Venus of Willendorf, one of the earliest known representations of the human body. The proportions are deliberate and emphatic. The rounded abdomen, full breasts, and compact limbs place the body itself at the centre of meaning, not as an object of display, but as a site of continuity and life.
The head is rendered without facial detail, wrapped instead in a patterned, cap-like form. This absence of individuality shifts attention away from identity and toward universality. The figure does not belong to one woman, one time, or one story. She stands for fertility, survival, and the physical reality of existence in its most elemental form.
Carved in granite, the material reinforces the idea of endurance. Unlike softer stone, granite carries weight, resistance, and permanence. The sculpture feels less like an image and more like a presence shaped to last. The body is grounded, self-contained, and complete within itself, expressing abundance without gesture or movement.
Seen in this light, The Venus of Willendorf is not symbolic in the modern sense. It is foundational. A reminder of a time when the body was understood as sacred through its ability to sustain life, and when form itself was enough to carry meaning.
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