VIEW IN MY ROOM
Belgium
Photography, Digital on Paper
Size: 35.4 W x 23.6 H x 0 D in
Née en 1977 en Belgique, Crapaud Mademoiselle est photographe. Sa pratique se concentre sur la technique et la rhétorique de l’autoportrait, pour devenir sujet et objet multiple et obsessionnel. Construits comme autant d’instantanés de la personnalité, des états de l’âme, et de références à l’histoire de la photographie, ces autoportraits dessinent les contours d’une quête. Celle de l’image de la femme en tant qu’icône schizophrénique, conditionnée par un héritage judéo-chrétien. Héritage qui, à travers la représentation du soi, de l’autoportrait, travestit un sentiment sourd et pointu de culpabilité. La culpabilité de la chair, du corps, utilisé, manipulé, torturé, transformé. Un corps en équilibre entre légèreté et gravité, tendresse et cruauté, un corps entre Éros et Thanatos. Born in 1977 in Belgium , Crapaud Mademoiselle is a photographer. Her practice focuses on technical and rhetoric of self-portrait , to finally turn into obsessive and multiple subjects and objects. Built as many snapshots of personality, state of mind and references to the history of photography, these self-portraits draw the shapes of a quest. It releases a woman's image as a schizophrenic icon, conditioned by a Judeo-Christian heritage. Heritage which, through the representation of self, through the self-portrait, disguises a vague but sharp feeling of guilt. The guilt of the flesh, of the body, used, handled, tortured, transformed. A body in balance between lightness and gravity, tenderness and cruelty, a body between Eros and Thanatos .
Photography:Digital on Paper
Original:One-of-a-kind Artwork
Size:35.4 W x 23.6 H x 0 D in
Frame:Not Framed
Ready to Hang:No
Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
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Belgium
Born in 1977 in Belgium , Crapaud Mademoiselle is a photographer. Her practice focuses on technical and rhetoric of self-portrait , to finally turn into obsessive and multiple subjects and objects. Built as many snapshots of personality, state of mind and references to the history of photography, these self-portraits draw the shapes of a quest. It releases a woman's image as a schizophrenic icon, conditioned by a Judeo-Christian heritage. Heritage which, through the representation of self, through the self-portrait, disguises a vague but sharp feeling of guilt. The guilt of the flesh, of the body, used, handled, tortured, transformed. A body in balance between lightness and gravity, tenderness and cruelty, a body between Eros and Thanatos .
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