Love as vector and void in Luce Irigaray’s ‘The Natal Lacuna’ and Tai Shani’s Phantasmagoregasm

Drawing from Eve Kosofky Sedgwick’s analysis of the gothic and proposal for reparative reading , this article takes an artwork by the artist Tai Shani (b. 1976) and reads it in tandem with philosopher Luce Irigaray’s response to the work of twentieth-century artist, Unica Zürn (1916–70). Through this pairing, the article proposes an approach to both Irigaray and Shani’s works from which can be created a feminist art practice as composed of gaps, and forces that move across them.