A breast is never just a breast. It nourishes, consoles, comforts. It intrigues, charms, desires. It is the mother, the lover, childhood, desire. But it also revolts — it sparks revolutions of ideas, it is political. It communicates in so many ways: tenderness, claim, provocation, freedom. No matter who you are, your sexuality, your beliefs — this organ crosses all of that and provokes a common sensation. Representing it as a multiplicity of forms rather than a single ideal was the only honest way.

BOOBSTRUCK is a painting folded in four: a four-sided column, gilded cornice and base, and on each face a plurality of forms of all morphologies, floating among bubbles on a blue ground. Not a catalogue — almost a celebration. The viewer who moves around composes the full image themselves: no single angle, no privileged viewpoint. The piece imposes a visual protocol: slow down, move, look differently.

Mr Klink regularly detaches a part of the body to make it an autonomous object — the heart in Cœur Mécanique, the mouth and the hand elsewhere. Here, it is the subject multiplied rather than unique, removed from the body that carries it to exist for itself.

The baroque gilding of the base and cap elevates what we usually glance at furtively to the rank of monument. Mr Klink calls it a spring walk. That is exactly what it is.