If the boundary is transgressed however, then this leads to an experience of abjection, thus necessitating the reinstatement of the boundary again in order to maintain order. In Julia Kristeva's account of abjection in Powers of Horror (1982) abjection is staved off by a practice that involves safeguarding the boundary of the self (or system in question) and ensuring that the subject is not under threat.
Abjection is a theoretical concept and 'a pervasive cultural code' (Arya, 2014: 2) that addresses boundary crossings between the subject and the source of threat. In this chapter I want to explore abjection in the work of Hans Bellmer and Francis Bacon, and will begin by providing an overview of abjection as it relates to the fragmented body.
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