"In the proximity and detail of skin, its grain, palette and pores an intimate and privileged vision of the other, a vision of bottomless desire to know his flesh, consume its inconsumability, its excess, consume the real it promises and become real too through this ungoverned act. The artist and her lover, archetypal like a visceral, abject Eros and Psyche as imagined by the angel of history.
But in the colossal boulders, both vulnerable and flesh-like and veined stone, another myth is invoked, that of Sisyphus and his infinite task, but here hero is conflated, flesh and object becoming one, but here also hero is heroine, and here her task is one of forever constructing and realising her lover.
An undying monument to the transcendent toil of creating this lover, a faceless, anagrammatic mound of flesh, a surface upon which to project all dreams, trauma, feverish and inchoate desire." Tai Shani
This is carried out mostly through my experience of my own female body and my
perception of the bodies that surround me; here the one I have the most intimate
relationship to, the one with my lover Orlando.
The installation is composed of large-scale prints of close-up body parts of Orlando. The photographs have been dipped in wax, crinkled, scanned and reprinted, resulting in a trompe-l’oeil effect, skin trying to break open and escape itself.
The cracked wax resembles marble, the marble of meat and the marble of classical
sculptures. Orlando in Virginia Woolf’s novel blurs gender boundaries, a
character that turns from male to female.
Orlando is a story of our genders melting and merging together.
Orlando is a large-scale photographic paper prints installation.
practice has always been concerned with the crossing and mixing of photography
and sculpture practices. I am interested in the photograph
as object and its potential for materiality, touch, and three-dimensionality.
Orlando comes from an investigation
of how to represent intimacy, those moments where the other’s body is blown up
through proximity and every detail of the skin and body unravels. I have always
felt teased by the similarities between skin
and the photographic print: both surfaces, both fragile, both ungraspable.
Olivier Richon talks about the relation between orality and photography and thinks of the camera as closer to the mouth than the eye. There is something cannibalistic in the nature of love, a desire for incorporation. It is expressed in Orlando through the juxtaposition of photography, a shapelessness of the body, and flesh resembling meat amassed in a monumental pile.
School of Fine Art
MA Photography, 2014
My practice considers the photograph as object and explores its potential for materiality, touch, and three-dimensionality; thus crossing and mixing the mediums of photography and sculpture. This is carried out through working with notions as the bodily and femininity. My experience of my own body and my perception of others’ is at the core of my practice. Intimate relations such as working with my mother or lover’s body are at the start of my enquiry.
I am investigating the similarities between skin and the photograph: both surfaces, both fragile, both filled with secrets and taboos. As a photographer and a person I feel teased by the impossibility of seeing what is beneath the image and what is beneath people’s skin, I would like to scratch the surface and dig. That is why I am trying to merge both together, sometimes on the verge of the abject, looking at what it does to play with the boundaries of the representation of the body.
It is about exploring the limits of my relationship to photography and image-making as much as the limits of my relationship to bodies. The impossibility of grasping a body is inherent to the medium of photography as much as to desire and love, yet in doing both at once, the insatiable is soothed.
There is vampirism in this quest, and often images and prints are reused, as the monster of photography feeding off itself. The violence in the photographic take, the impulse of possession develops into frustration with the print, which needs to be digested again, reshaped, crinkled up, rephotographed, reworked in a Sisyphus-like never ending task.
Large prints of photographs of the body are squashed in balls, remains of discarded organic matter, teasing the viewer with what can be hidden inside. There is a hybridised human presence, one that we cannot escape, one that confounds and confuses, one that disgusts and which is ultimately sterile, just as our experience with the huge mass of images we are confronted with on a everyday basis. It is through the process of abstraction, fragmentation and objectification that I try and break the boundary of our skin envelopes.
- BA (Hon) Fine Art, Central Saint Martins College of Art and Design, 2011
- Solo Show, Mois de la Photo Off, Galerie LJ, Paris, 2012; Venez Fruits Presses, La Manutention, Paris, 2014; BAB DAR, Mint project in partnership with Marrakech Biennale, Marrakech, 2014; Salon de la photo OFF, La Belleviloise, Paris, 2013; Rural, Red Gallery, London, 2013; An Eye For An Ear, China House, Malaysia, 2013; Guest Room Maribor, Maribor, Slovenia, 2012; Fresh Winds, Gardur, Iceland, 2012
- David Villiers Travel Award, 2013; Mint Artist Residency, Marrakech, 2013; Ceangal Artist residency, Scotland, 2013; Fresh Winds in Gardur Artist residency, Iceland, 2012; Guest Room Maribor European Cultural Capital Artist Residency, Slovenia, 2012; Honorable Mention in the Professional Women Photographer's 36th Anniversary competition, 2011