Between 1890 and 1892, Edgar Degas transforms a feminine nude in landscape. The breasts of the model become soft hills, while the falling hair is transformed into abrupt cliffs dominating the sea.
It is in this sense that Degas distinguishes himself of a lot of artists who approached the metamorphoses or still the images with simultaneous reading, before him, but also later …
The body (major subject of the painters) and the landscape (subject so important) both mixed, as a superimposing of transparent images such as we can see them in so commonplace a way thanks to the digital medium today.
The body of the woman is nowadays, and more than ever, the stake in a collection of power and in ownership. Sometimes too much veiled for some people, sometimes too much revealed for others (doubtless rightly also), our look settles whatever we make, wherever whom we are, on the feminine body.
Our society is made like that … The body is in piece in women's magazines, body without heads, mouths without bodies, too much perfected seasoned stomachs, bus stops shelter bodies without legs furnished with laces, the highest beam at the tobacconists hides badly magazines of pornography, etc. what to say about recut body so that it goes into the small screen, the one who, sculpt for the big and filmed in close-up, makes for us past for dumbfounded Lilliputians …
The series of photos " the Mongol Warriors " shows small plastic characters, put on lengthened bodies. They are small soldiers with whom I played when I was a child.
Teenager, I was profoundly marked by the movie of Pabst dating 1932: the Atlantis with Pierre Blanchard.
The male characters of this story roam in a city lost in the stomach of the desert. All are disenchanted, totally lost in their dreams without illusions. They are every under the domination (and under the protection) of a quite powerful queen. The whole bathed by a light of cinema disappeared today …
The alive "bodies-landscapes" of my photos are kept by some figurines devoid of flesh and soul, inverting the natural logic of such a vision.
The body of the woman becomes then gigantic and supports small chaps ridiculously motionless and inert.