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This contemporary sculpture of woman’s legs hand-carved out of Carrara Marble is by female artist and conceptual designer Roos Schneijderberg. The sculpture is called CAN’T FORGET HER (LEGS) and is about Female Objectification, Transiency and Love.

CAN’T FORGET HER (LEGS) is a pair of marble sculptured life-sized woman’s legs casually placed on one’s floor. As if a woman is silently lying in the room, patiently waiting for the viewer’s attention; like a melancholic memory. The sculpture is both aesthetic and profound but there is something uncomfortably alienating about it.

Notice that only the first part of the buttocks is visibly just enough to give the viewer a subtle seductive association but in such a way that the sculpture does not become vulgar, but continuously feels sophisticated and poetic. Nevertheless, the straight cut side is like a sharp undertone.
By combining female beauty with realistic details and an almost lurid association of ‘cut of flesh’ the legs evoke contrasting emotions and create an attractive field of tension.

The work CAN’T FORGET HER (LEGS) is about transiency, human mortality and the desire to escape from this. On a lighter side the work expresses the impermanence and remembrance of a love affair. The woman is captured for eternity through a one-to-one representation in imperishable marble. She is not to be erased. Still the sculpture shows her loneliness. It is quite sad and painful to realise that this – her not being forgotten – is what she was secretly longing for but that her legs – her body – became the object to be remembered. Is this the price women pay for being perceived as sensually attractive? To become the trophy for others due to the objectification of women in society?

The production of CAN’T FORGET HER (LEGS) took more than six months.
A continuous process of the artist Roos Schneijderberg working together with the sculptors. The greatest care has been given to create exactly the right pose for the most refined and realistic appearance for which multiple films and photos were shot, making this piece more personal and more confronting.
First a clay model was made (see picture) then the sculpture was carved by hand out of Carrara marble.

The artist Roos Schneijderberg chose consciously which details to add and which to leave out to for the association of ‘realistic sensual-melancholic poetry’.
Crucial for her, was the shape of the sloping upper knee. The course of the muscles and bones. The little accent of the toes. The refinement in the high heels – with the risk of breaking. The extraordinary shape of the (Miu Miu designed) sling-back shoes making this woman a contemporary – not historical – figure. And above all, choosing the right point on the buttocks where the legs were cut off from the female body – as if it was real flesh. The sculpture therefore has more than just aesthetic appeal, it is also very intimate and in a way fairly unsettling.

The sculpture CAN’T FORGET HER (LEGS) by Roos Schneijderberg is a profound, refined piece about female objectification, transiency, and love.
This is the first piece made;
Width 102 cm x height 30 cm x depth 32 cm and weight ca. 80 kg.

A digital scan is made for the artist own file.
She will allow only a maximum of five pieces in total to be made of this wok of art. Besides this original piece, one enlarged version – seven times enlarged making it seven meters wide (see pictures) – was made on commission as permanent outside sculpture. This large piece was called: DON’T CALL ME BABY – I AM GREATER THAN YOU MIGHT THINK (see pictures)

Roos Schneijderberg (Zoetermeer, 1977) is a Dutch multidisciplinary creative. Introspection, femininity, and a refined abrasive interaction between imperfection and aestheticism are recurring themes in her oeuvre. Her work includes conceptual furniture, sculptures, mixed media objects, video installations, paintings, poems and scenery creations. Her background in advertising and economic psychology paved the way for her conceptual thinking and the emotion based messages in her works. Her style is sophisticated yet bold presented with some serious lightness. Her background in advertising and psychology paved the way for her conceptual thinking and the emotion based messages in her works.