Monday, May 27, 2019
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A naked eye – Culture / Next

Hypocrites, do not say "Cover that breast that I can not see." Yes "By such objects (your) souls are wounded", and if "It makes you think guilty," as in Tartuffe Molière, too bad for you. The photograph opposite is made to be watched. Lying on a base, bathed in a white light, the languid young woman seems to be lost in the arms of Morpheus. So let's take advantage of it. With the complicity of the photographer Camille Vivier whose objective captures this privileged moment on the sidelines of a fashion shoot for a magazine, we can rinse our eyes at leisure and let our eyes run along these pretty curves: legs, Thighs, hips imprisoned in a fleshy tights, torso, chest, neck and hands sculpt the forms of a beautiful sleep. But beware. Lookers, you are also observed. A breast mates you, spies you, makes you lorgnade. Painted on the skin of the model, taking advantage of the formal analogies between the iris and the nipple, between the pupil and the nipple, a hypnotise cyclops and turns the eye of the voyeur against himself. Here is a breast revolver with a look that kills.

Published on the last page of Twist (1), the book of Camille Vivier published in March, this photo closes the book as a symbolist enigma. Quoting, in bulk, as inspirations: the giant eye in the forest of Kwaidan of classic Japanese filmmaker Masaki Kobayashi, the dream sequence in Dr. Edwardes House Alfred Hitchcock or the girls Niki de Saint Phalle, Camille Vivier wrote her book from female nudes that she drew from her archives and that she most often made during photo shoots with friendly models. In Twist, she mixes them with reflections and representations of the female body, embodied in lighted candles or art sculptures housed in the public space. The book is a walk in a secret garden where grow beautiful bare plants for a shared pleasure, that of a photo shoot between a young woman and her Pygmalion – in this case the photographer – who works in complete complicity with his model . Camille Vivier reflected on this look she has on the bodies of her friends: " Being a woman who is photographing naked women today is empowerment. And that gives you more freedom because you do not see any hidden meaning. It has even become very legitimate because we do not perceive any bad intention. It's more of a feminine voice. " Does this mean that a male gaze has become necessarily suspect? Of course not, but the affirmation of a photographer's voice, of a writing of the image, also passes by the affirmation of its subject. Thus the enigmatic voyeur organ painted on the breast of the young asleep is not so much that of matte matte, but perhaps also the reflection of that of the photographer who is allowed to chew his loved ones with delights. A pure wink of pleasure in which, inevitably, the reader is embarked.

(1) Ed. Art Paper, 80 pp., 35 €.

Clémentine Mercier



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