Sophie Calle and Vito Acconci both use self identification within their artistic practice, while they are using their own identities to project their artwork and although similar in subject their processes and results are, at times, contrasting. Calle uses her life and experiences within her world for us to examine and unpick and often the work is quite personal and emotionally comparable to our own experiences, it makes it easier for us to position ourselves beside her oeuvre. Her conceptual work has an investigative quality, that possibly touches on our own desires and curiosities within narcissism, intimacy and vulnerability, therefore there is a revealing of secrets of the public and personal identity of strangers to her work
Acconci’s installations are similar due to the ‘self’ being the main focus of our attention, however due to the use of sometimes pain or humiliation the ease at which we view is less effortless. Acconci’s use of his body in ‘Three Adaptation Studies’ is far less accustomed to every-day experiences and therefore creates a sense of detachment and occasionally revulsion when watching his installations. Again there are elements of narcissism though without the desire to be within the artists position.