I am Flesh

 

IaF013ph, True Gicée Print / Diasec, 230 x 160 cm   

 

“I am Flesh” bodies make up reality: 35 naked women of childbearing age meticulously filmed and photographed in their primeval condition where each body calls on us to share a relationship in which mutual alienations become the premise of understanding.

This extraordinary resemblance to the truth is achieved by means of a special technique whereby each image is composed of 47,244 x 32,864 pixels per inch, equivalent to 400 X 278 cm printable area at 300 dpi.

 


 

 

 

I-am-Flesh_35.003

 

 

 

 

IaF007ph

Human-Dilatations.040

True Giclée Print, H230 X W160 cm, 2009, 2009

Collage of 96 / 97 photographs

 

IaF006ph

Human-Dilatations.041

True Giclée Print, H230 X W160 cm, 2008

41 photographs

 

IaF003ph

Human-Dilatations.043

True Giclée Print, H230 X W160 cm, 2008

Collage of 118 photographs

 

IaF002ph

Human-Dilatations.044

True Giclée Print, H230 X W160 cm, 2009

Collage of 60 photographs

IaF001ph

Human-Dilatations.045

True Giclée Print, H230 X W160 cm, 2009

Collage of 102 photographs

 

IaF005ph

Human-Dilatations.046

True Giclée Print, H230 X W160 cm, 2009

Collage of 52 photographs

 

IaF008ph

Human-Dilatations.047

True Giclée Print, H230 X W160 cm, 2009

Collage of 95 photographs

 

IaF009ph

Human-Dilatations.048

True Giclée Print, H230 X W160 cm, 2009

Collage of 92 photographs

 

IaF010ph

Human-Dilatations.049

True Giclée Print, H230 X W160 cm, 2009

65 photographs

 

 

 

IaF011ph

Human-Dilatations.050

True Giclée Print, H230 X W160 cm, 2009

Collage of 60 photographs

 

IaF012ph

Human-Dilatations.051

True Giclée Print, H230 X W160 cm, 2008

Collage of 88 photographs

 

IaF013ph

Human-Dilatations.052

True Giclée Print, H230 X W160 cm, 2008

Collage of 57 / 67 photographs

 

IaF014ph

Human-Dilatations.053

True Giclée Print, H230 X W160 cm, 2009

Collage of 63 photographs

 

IaF015ph

Human-Dilatations.054

True Giclée Print, H230 X W160 cm, 2008

Collage of 49 photographs

 

IaF016ph

Human-Dilatations.055

True Giclée Print, H230 X W160 cm, 2008

Collage of 55 photographs

 

IaF017ph

Human-Dilatations.056

True Giclée Print, H230 X W160 cm, 2008

Collage of 122 photographs

 

IaF018ph

Human-Dilatations.057

True Giclée Print, H230 X W160 cm, 2009

Collage of 50 photographs

 

IaF019ph

Human-Dilatations.058

True Giclée Print, H230 X W160 cm, 2008

Collage of 98 photographs

 

IaF020ph

Human-Dilatations.059

True Giclée Print, H230 X W160 cm, 2009

Collage of 236 photographs

 

IaF021ph

Human-Dilatations.060

True Giclée Print, H230 X W160 cm, 2008

Collage of 82 photographs

 

IaF022ph

Human-Dilatations.061

True Giclée Print, H230 X W160 cm, 2008

Collage of 48 photographs

 

IaF023ph

Human-Dilatations.062

True Giclée Print, H230 X W160 cm, 2008

Collage of 61 photographs

 

IaF024ph

Human-Dilatations.063

True Giclée Print, H230 X W160 cm, 2008

Collage of 71 photographs

 

IaF025ph

Human-Dilatations.064

True Giclée Print, H230 X W160 cm, 2008

Collage of 66 photographs

 

IaF026ph

Human-Dilatations.065

True Giclée Print, H230 X W160 cm, 2008

Collage of 56 photographs

 

IaF027ph

Human-Dilatations.066

True Giclée Print, H230 X W160 cm, 2008

Collage of 38 photographs

 

IaF029ph

Human-Dilatations.067

True Giclée Print, H230 X W160 cm, 2009

Collage of 112 photographs

 

IaF030ph

Human-Dilatations.068

True Giclée Print, H230 X W160 cm, 2010

Collage of 120 photographs

 

IaF031ph

Human-Dilatations.069

True Giclée Print, H230 X W160 cm, 2008

Collage of 74 photographs

 

IaF032ph

Human-Dilatations.070

True Giclée Print, H230 X W160 cm, 2010

Collage of 42 photographs

 

IaF033ph

Human-Dilatations.071

True Giclée Print, H230 X W160 cm, 2010

Collage of 70 photographs

 

IaF034ph

Human-Dilatations.072

True Giclée Print, H230 X W160 cm, 2011

Collage of 37 photographs

 

 

 

 

 

35 An Ethnophotographic Project, Twill Magazine, Paris

TEXT by Adriano Zamperini for

 

Human bodies have long been photographed and described. Many have been seen and read about. And every community, through its institutions and leaders, has always espoused certain body-types and shunned others. Showing off the desirable ones, and hiding the undesirable. All those who might be perceived as excessive or upsetting. Roger Weiss, donning the role of a visual ethnographer, involves himself in every body-type of contemporary society. Almost adopting a “naturalistic” approach, he isn’t scared to get his hands dirty. To breathe somebody else’s breath. Accepting that our own images are never fully under control. Rather, he allows them a certain margin, opening up ever-changing and unlooked for perceptions. And with project 35, he invites us to continually switch between the general and the particular, setting in motion a systematic alternation between interior and exterior. He undermines the comforting idea of an established aesthetic of anatomy and takes us on a journey of the body that turns its revelations of intimacy into an exercise of democracy.

The essence of human rights, a key element for any society to call itself democratic, is that the autonomy of the individual rests on the inviolability of the human body. The body, that in past ages was in the hands of God and the ruler. In war, sent to the slaughterhouse by the generals. In the fields and in the factories, abused and deceived by the cheating bosses. Today, instead, our bodies belong to us. Admittedly, even under democracy, politics retain some control over our bodies. Always ready to regulate, to forbid and to issue permits. And yet, political control struggles with bodies reluctant to hand over control of their own fate. There are plenty of scenarios for control – and plenty of dilemmas – from procreation to living wills.
One of these scenarios relates to the expressive materialization of the self in the appearance of the body, in the visible identity of the individual. This is the drift of Roger Weiss’ argument.
As phenomenology shows, if the self exists in the world via the body, it can be experienced in two different ways: objectively and a subjectively. Bodies that by their functioning test the limits of their own reality. Shards of the drama of the human condition. In daily life, the body is the self, the dwelling place of my feelings, where I move, the frame for my perspectives. And I can even adopt a perspective of examining my own body. But there are innumerable social occasions where a separation exists between the self and the body. Medical discourse, for example, with its ability to turn a person into a patient. Or, at its most extreme, into a corpse. On which one can operate without any resistance. But even then, the self remains, as it were, trapped. Because not only do I have a body, I am a body.
And, today, living as we do in a body-crazed society, individuals are always being called on to “work on” or “look after” their bodies. And if individuals know what they can do – within certain limits – with their own bodies, the problem remains what to do with this freedom, because the body expresses an established rapport with the surrounding world. Thus becoming an existential option. A topical theme for contemporary democracies.
Roger Weiss’ photographs are life forms that speak by means of the body and not about the body. They relate setbacks and aspirations, weaknesses and strengths, pain and joy. Of rights achieved and rights trodden down. The flesh that exposes itself, calls for others’ perception. Obliging these perceptions to pause on its appearance. A place where the self and the world intermingle and relegate the realm of ideas to second place in order to deal with the realm of the visible. The inner self, usually held back as opaque and inaccessible, becomes open and displayed on the skin. So, it’s not about somebody else’s body that conceals a self. Rather, it’s about bodies that reveal a self. And, being able to follow every fold, it is possible to feel emotions that become stories. Moments that become history. The photographer, just as he enlarges faces, expands the feelings experienced. In other words, he enables us to “reach within”, putting people in touch with themselves and others.
And thus, these oversize photographs rub up against us, creating the friction that is typical of the human encounter. Every body, though forming and representing defined individuality, is turned outside itself, and is set in a relationship. Not an absorbing empathy but rather an invitation to live a relationship of differences. In which reciprocal differences are a pre-condition for understanding. That is project 35; that is what democracy should be about!
Translated by Bob Lowe and Marco Sonzogni

 

 

 

 

TOP

GO BACK