moulting

Like a classical painter,​ I staged this photo series in my painting studio and outdoor locations. I see these indoor and outdoor landscapes as​ space where the body meets nature and negotiates their differences and similarities. I collect objects, some unchanging, others like flowers and fruits I let rot. Perishable subjects are attractive to me because of their observable transition. Their skin become a material that I love to look at, a new texture and color appear. I use vegetation as a visual language to link still life, landscape, and portraiture. My study focuses on the process of creation itself, the search for a sense of belonging to the world and to my female body. The boundary of the skin is an intimate yet universal geography that is the red thread of my work. I am interested in the visual symbolism, the ephemeral quality of organic matter to represent the time or recurrence of the water element as the original matrix, the feminine. These symbols punctuate my images and form a personal rebus that wants to be common and inclusive. The look is solicited in a continuous exchange between the outside and the inside, the reflection of the mirror is a hand extended towards the spectator.