British artist Rebecca Warren (b.1965) gained recognition in the 1990s for roughly worked,unfired clay sculptures of the female form. Subsequently realised in bronze and steel, her erotically charged, unkempt figures are replete with art historical allusions and feminist critique. Balanced between admiration and iconoclasm, they playfully subvert the work of older male artists who fetishised the female body, including Auguste Rodin (1840–1917) and Edgar Degas (1834–1917), and often incorporate elements derived from the prurient cartoons of Robert Crumb (b.1943). Croccioni (brunst) sports giant shoes, musclebound legs and an exaggerated derriere; confrontational and overtly sexualised, it conflates a Crumb cartoon with a marching figure by Italian Futurist Umberto Boccioni (1882–1916): Unique Forms of Continuity in Space (1913). Warren’s hand-painted bronze Bon Voyager appropriates the pose of Degas’s masterpiece Petite danseuse de quatorze ans (1879-81) but disrupts the dancer’s feminine form with anatomical waywardness and an expressive, pock-marked surface.