She transforms herself into a readymade, an assortment of facial highlights of goddesses that are regarded pleasurable by old style workmanship, for example, Aphrodite and Venus, just as the Mona Lisa. This determination enables her to turn into a portrayal of a lady in the entirety of its structures. By communicating these works live, and displaying the recordings in exhibition spaces, she enables the crowd to associate and connect straightforwardly with her presentation, yet in addition spreads her message of characterizing the body from the back to front, to a huge crowded viably. By ceaselessly changing her outside ORLAN continually reclassifies herself, in this manner recognizably uncovering the smoothness of the human condition.
Besides, Marc Quinn's sculptural works difficulties cultural convictions about humankind through his enthusiasm for life systems and how the degrees of the human condition can be spoken to through our physical bodies. He curiously plays between how critical people are seen as powerful and modern in contrast with the individuals who are esteemed as inadequate and unusual by society. This is clear in his strong gold statue of Kate Moss, Sphinx (2005). This model in a manner builds up the power given to Gods and Deities, enlightening the god like or extraordinary characteristics that are offered to big names. He gives the human condition transient inclinations, by building up a feeling of weight through her stressing yoga present. Quinn has exhibited Moss, not as herself yet as society sees her – consistently changing (after the style world). This is insightfully differentiated by his arrangement of enormous and reminiscent marble figures of impaired people and amputees. He accepts that speaking to paralympians and war veterans with marble difficulties conventional ideas of the perfect entire, just as traditional model itself. As found in one of his latest works, "Alison Lapper" (2000), this enormous model sat on a plinth in Trafalgar square. His situating and introduction is his method for legitimately bringing issues to light just as summoning contemplated the conceivable outcomes of the human condition. Alison Lapper was conceived without arms and twisted legs, Quinn has decided to utilize her incapacity in an enormous and reminiscent manner to incite a subjective reaction from the crowd, which fills in as method of direct cooperation. His decision to shape with the old style mechanism of marble, a hard and thick stone to depict someone that society characterizes as delicate and frail, affirms his theme, that the handicapped are "monument(s) to future conceivable outcomes of humankind and its ability for strength" (Quinn, 2000). His provocative work consummately clarifies the trouble of characterizing an individual, and that genuine character ought to be made a decision by strength and mental fortitude.
Generally, Shlipa Gupta, ORLAN, and Marc Quinn challenge the manners in which that we characterize and order people by contributing perceptiveness, into how our physical bodies are frequently the inspiration for definition, however that the human condition must be comprehended by diving into better approaches for valuing our reality. Their investigation of what exists in (physically and intellectually) gives another importance to being "human", that qualities the excellence of our logical bodies and independence
