Gorgeous : In the neck of time
The serie has been awarded 6 times and exhibited in Paris, London, New York, Kiev, Berlin, Vence.
"1st Prize Portrait Category+Exhibition in Sydney early 2012, ExhibitA
"2 Gold medals" at PX3, Prix de la photographie Paris"
"3rd prize of 22nd annual international juried exhibition" given by Elisabeth Sussman, curator at Whitney Museum
"Honorable Mention in Professional Women Photographers' CONTRASTS Call for Entry" given by Ruth Fremson, pulitzer prize photojournalist
"Featured photographer on Focus project"
"Honorable mention at International Photography Award 2007/ 5th Lucie Awards
The idea of making tilt-up portraits came to me as a consequence of a low-angle auto portrait shot as I was happened to learn singing techniques, and a visit to the Erechteion temple in Athens.
Originally, I had taken this autoportrait to get a visual understanding of the throat* role in the body mecanism when you need to produce a sound. It conjured up in me the intimate feel and the sensuality of a woman’s neck, violently challenged by the potent, erect jaw.
Two months later, I traveled to Athens. I was deeply struck by the overt demonstration of masculine power embodied by the massive temples, whereas Athena’s temple sat quietly strong in the Acropolis. The Caryatids goddesses seemed to invert nicely this tendancy by maintaining the temple thanks to their simple heads!
Through a fascinating plunge into the depths of the history of representation, I found myself back in ancient times, where the sex war began… The art of representation seems to have even condemned genders to be dramatically opposite.
Nowadays, values have evolved but still, is the gender a relevant identity distinction?
I started this serie shooting women necks. As each woman disclosing voluptuously her neck to me, they were revealing a strange phallic identity and I thought that introducing men’s necks could reveal another understanding of woman gender as well. Who’s the man? Who’s the woman?
123 people let going themself, the head drawn behind, in this ecstatic position, I felt as though I were taking stolen pictures, since none of them was able to strike a pose or use of an attitude … I could finally make straightforward portraits.
Erect shapes without identity, altogether powerful, animal and raw… All seem to stare at us, not as masks holes can fake eyes and mouth but rather like mirrors without reflection.
I understood that I was doing portraits that were telling another story…
"1st Prize Portrait Category+Exhibition in Sydney early 2012, ExhibitA
"2 Gold medals" at PX3, Prix de la photographie Paris"
"3rd prize of 22nd annual international juried exhibition" given by Elisabeth Sussman, curator at Whitney Museum
"Honorable Mention in Professional Women Photographers' CONTRASTS Call for Entry" given by Ruth Fremson, pulitzer prize photojournalist
"Featured photographer on Focus project"
"Honorable mention at International Photography Award 2007/ 5th Lucie Awards
The idea of making tilt-up portraits came to me as a consequence of a low-angle auto portrait shot as I was happened to learn singing techniques, and a visit to the Erechteion temple in Athens.
Originally, I had taken this autoportrait to get a visual understanding of the throat* role in the body mecanism when you need to produce a sound. It conjured up in me the intimate feel and the sensuality of a woman’s neck, violently challenged by the potent, erect jaw.
Two months later, I traveled to Athens. I was deeply struck by the overt demonstration of masculine power embodied by the massive temples, whereas Athena’s temple sat quietly strong in the Acropolis. The Caryatids goddesses seemed to invert nicely this tendancy by maintaining the temple thanks to their simple heads!
Through a fascinating plunge into the depths of the history of representation, I found myself back in ancient times, where the sex war began… The art of representation seems to have even condemned genders to be dramatically opposite.
Nowadays, values have evolved but still, is the gender a relevant identity distinction?
I started this serie shooting women necks. As each woman disclosing voluptuously her neck to me, they were revealing a strange phallic identity and I thought that introducing men’s necks could reveal another understanding of woman gender as well. Who’s the man? Who’s the woman?
123 people let going themself, the head drawn behind, in this ecstatic position, I felt as though I were taking stolen pictures, since none of them was able to strike a pose or use of an attitude … I could finally make straightforward portraits.
Erect shapes without identity, altogether powerful, animal and raw… All seem to stare at us, not as masks holes can fake eyes and mouth but rather like mirrors without reflection.
I understood that I was doing portraits that were telling another story…