Handmade, or David Rimmer's "Divine Mannequin"

[...]the process of drawing, in Berger's terms the making of a "private work," as distinct from the "public" status of a "'finished' statue or canvas," extends from the artist to the viewer in a structure of identification: [...]a connection may be tenuous, not the least reason the obscurity of shot of the head, but it does suggest the most important association to lend coherence to this disparate set of images: the film combines images that incorporate the human body from its extremities, literally from toe to hands to head. [...]the film's soundtrack, incorporating the sounds of the runner's footfalls and breathing, and of the whirling wind, intimates not only the body's activity, but also the breathing of life into the human figure. [...]suffering, he is also, as Catherine Russell suggests, "apparently masturbating, framed in a space that looks like a TV monitor...a virtual fish-tank of alienation and annulled desire. According to the text Rimmer discovered, the motivation for the peculiar twist in the ceremony it describes was a desire for "more response and animation"- perhaps a lucky word in the context of this discussion.