In Inflatable Love Doll #9 (2016), Bernadette Despujols subverts a mass-produced object of desire to reframe the classical aesthetic of the female torso. By casting dense cement into the void of an inflatable figure, the artist creates a poignant material contradiction between ephemeral synthetic plastic and brutalist weight. As a unique contemporary concrete sculpture, the work petrifies a commercial fetish into a monument reminiscent of Hellenistic antiquities. Featuring captured surface seams, raw air-pocket indentations, and iron structural accents, this piece incisively interrogates the objectification of the female form, offering institutional and private collectors a compelling statement on contemporary gender discourses.

A series of feminine cement chests comprised of plastic sex dolls filled with concrete, at first glance appear to be contemporary truncated version of Hellenistic torsos. The inflatable love doll is a representation of the female body; it is both figurative and abstract, as it tries to reproduce the female figure, but remains true to its origins as an inflatable structure, standing as an object in its own right. The vagina is a pink hole, very abstract. By filling up the doll with concrete it turns into a solid sculpture, no longer movable or fuckable.

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