The two artists met in 1987 as "disgruntled film students." My eyes honestly crossed as I tried to read about their art and exploits on the gallery sites.
Here is an example (not about these pieces)--"The refraction of psychological states through physical spaces almost becomes the literal subject of a subsequent series of videos that form a kind of triptych: Ten Weyngaert (In the Vineyard, 2007), Der Schlamm Von Branst (The Clay from Branst) and The Frigate (both 2008), all of which – in one way or another – question the therapeutic value of art by exploring different places in which it lives."
I am a simple man. My 18 year old son thought these human-sized pieces looked like over-sized voodoo dolls. That seems like as good an analysis as any I could come up with (I actually thought they looked like zombies). I am sure there is a more complicated explanation.