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Etamorphosis - The woman has no body

The woman has no body

When I look at the recent works of Annabelle Munoz-Rio, what do I see ?

Her photographs use four elements : - an opaque background - a wooden tub - a body -
flowers.

The black background allows no vanishing point, perspective, out-of-shot area or narrative,
and it imposes a frontal view.

The tub is more like a stage, an arena even, than a container. We do not see it in full, two
sides at most, otherwise only one, so limiting our view. 

The body, never seen as a whole, seems unmoving. with the blur that the history of
photography has accustomed us to see as resulting from movement, the body comes apart
or is recomposed.

Flesh or ectoplasm ? Then there are the flowers, too obvious not to be surreal, wonderfully
still. And if there must be some impossible story, it would be that of their coming decrepitude,
as the Vanities promise us ours. 

Contrast directs the plane of expression, between light and darkness, blur and sharpness,
isolated colours ans couloured surfaces, this constructed scene and us, who are seperated
from it by this wooden barrier. I see these images as mirrors that reflect me, or rather as two-
way mirrors that make me a voyeur as in Duchamp's "Etant Donnés". An incredivble vision
suspended between before and after, just activated by my eyes. What woman have I seen?

Pictorial Modernism explored the relationships between objects. A century later, collage has
made a strong comeback on digital media.

Presence/Absence, the cornerstone of Western art,finds here a new paradigm… New
Vanities. The decisive moment is over, it is time for the in-between… Eternal present.

Ectoplasm for ectoplasm, I prefer Annabelle Munoz-Rio's "State XII with blue hydrangea" to Holbein's "Ambassadors".

Gérard Vienne