NY Arts Magazine, NY



“The flesh that exposes itself, calls for others’ perception and the inner self, usually held back as opaque and inaccessible, becomes open and displayed on the skin revealing a self.”



Our society creates and destroys models in the interest of a few. It is everyone’s responsibility to find or create alternatives.


I am inspired when I encounter passionate people who possess the ability to belong to the moment in which our sensory receptors are amplified. Photographically speaking, this is the moment when I act: when pupils dilate and I can get closer to my subject.

In “I Am Flesh,” I look for shards of the drama of the human condition to document through videos and photos; they relate setbacks and aspirations, weaknesses and strengths, pain and joy, rights achieved, and rights trodden down.

The flesh that exposes itself, calls for others’ perception and the inner self, usually held back as opaque and inaccessible, becomes open and displayed on the skin revealing a self. These works rub up against us, creating the friction that is typical of the human encounter.

Every body calls us to live a relationship in which reciprocal differences are preconditions for understanding. In “I Am Flesh,” bodies constitute reality: 35 naked bodies are filmed and photographed in their primeval condition to look as real as possible.

I have chosen women, and not bodies or organisms. Bodies in photography are bodies seen—in cinema, also heard— but they are certainly not bodies that can be touched. In short, they are bodies that keep their distance.

Seen as inert. Dead. From a phenomenological point of view, there is the distinction between Körper (“body”) and Leib (“belly”). The first term signifies the objective body, to be seen in terms of anatomy and of physiology (and also of pornography).

The second term signifies the body as lived in and experienced in real life. If the human condition were merely to “live,” it could be summed up in the working of the body’s organs.

Accordingly, we would see pictures of bodies “looking good” and “functioning well,” or, alternatively, emaciated and sickly bodies. But, as the human condition entails “existence,” the body takes on a psychological tonality.

Thus, the personality makes its presence known in the world; everyone communicates, interacts with, and relates to his or her fellows. “I Am Flesh“ is Leib—a piece that seeks to show the body’s feeling, immersing us in the body as it is seen.


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