The Montreal Camera Club workshop!

 
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Last Saturday we received some of the Camera Club members for a unique full day workshop. We had worked together in the past already, 6 years back. This year they decided to hire me again to set up a full day of practice.

Samedi dernier, nous avons reçu quelques membres du Camera Club pour un atelier unique d'une journée. Nous avions déjà travaillé ensemble il y a 6 ans. Cette année, ils ont décidé de m'engager à nouveau pour organiser une journée complète de pratique.

 

Video of our first collaboration 6 years ago, while I had short hair and my baby face :)

Video de notre première collaboration il y a 6 ans, alors que j’avais les cheveux courts et ma face de bébé :)

 

The day was devided as such :

  • Morning Black and white duo : Artistic Nude

  • Afternoon Phylactère solo : Artistic nude and color gels

I am posting bellow the some galleries with the photos of the talented artists who were here that day.

La journée a été divisée comme telle:

  • Matin noir et blanc duo: nu artistique

  • Phylactère solo de l'après-midi: Nu artistique et gels de couleur

Je poste ci-dessous quelques galeries avec les photos des artistes talentueux qui étaient ici ce jour-là.

 

John Zimmerman (morning and afternoon)

 

Rachelita (morning and afternoon)

 

Phillip Shapiro (afternoon)

 

Workshop Organized by Studio Phylactère, Model Phylactère & Kweku, Lighting by Mateo

Naked Modesty

Source of the interview : HOMEGROWN Magazine, India

Naked Modesty

A Powerful Series Of Nude Self-Portraits Challenges An Age-Old Indian Taboo

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(Image source: Dinesh Sahoo)

“Each culture is different. Each country has it’s own way to define what is allowed, rules, things that are socially acceptable and values characteristic to a culture. Yet we are all the same, we share the same struggle, the same need to become close to ourselves,” says Indian photographer Dinesh Sahoo while talking about Naked Modesty — a project him and Canadian art model and photographer Phylactère have collaborated on. Naked Modesty is a series of self-portraits featuring both Sahoo and Phylactère and is oriented towards fine art nude photography  a relatively lesser-explored style of photography in India. “While I was getting to know Indian culture better, I realised that artistic photography was not a very developed field, and that fine-art models barely existed the way we know it in Europe or North America. Therefore, meeting with Danny (Sahoo), who had the sensibility for this kind of work, appeared as a beautiful opportunity to exchange and learn from each other,” explains Phylactère while talking about artistic photography in India and about how the collaboration came about.

The photographs included in the series are fiercely impactful, to say the least. They invoke strong emotions at the very first glance, you might not be sure of what you’re feeling or why, but the effect is palpable. The images, the setting and the depiction of the human form are all very raw, minimalistic, and almost confrontational. The 24-year-old budding photographer from Adipura in Orissa — “It’s so tiny that you can’t locate it on Google maps,” says Sahoo — and Canadian anthropologist turned model and photographer spoke to Homegrown about this unlikely partnership, their inspiration for this photo-series, their process as photographers and a lot more.

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Photographed by Phylactère.

Homegrown: How did this unlikely collaboration come about?

Dinesh Sahoo: I was looking for a female model for my series ‘BARE’, that’s when I came across Phylactere’s work. I approached her and things just fell into place.

Phylactère: I was planning a trip to India, it was going to be my fifth time. In my previous voyages, I was mostly studying the culture and archaeology, keeping my artistic work for Europe and Canada. But this time I wanted to connect with artists. I knew it would be a challenge because artistic photography is not a very developed field in India, and fine-art models barely exist. Most models tend to do fashion or glamour, but only very few people have the understanding that the body can be something else than a pretty object. Danny [Sahoo] contacted me. I could see through his portfolio that he had the sensibility for this kind of work. His proposition to collaborate and do self-portraits together appeared as a beautiful opportunity to exchange and learn from each other.

Homegrown: What inspired you to do this particular photo-series?

Dinesh Sahoo: For me, this series was all about calling out and doing away with the restrictions that our [Indian] society and relatives put on us. It is a way to find my own identity as a nude-art photographer in India and eventually bring this awareness that there is another way to look at the body and connect with ourselves. It was also a way to make people realise how despite various differences, when stripped to the core, everyone is the same.

Phylactère: I have been taking photos for the last 4 years and working as a fine-art model for 12. Because I am also trained as an anthropologist, all those activities allow me to travel a lot. My studies about cultures and human beings taught me we are all different, and yet my life experiences showed me that deep inside we are actually all searching for the same things, we have the same struggles and questions when facing life. My photos are simply reflecting my life’s journey, in which I meet people, write and teach and get to learn from those situations. I think, in a way, that what’s at the heart of my pictures is how human beings deal with life. Sometimes my photography is more journalistic, sometimes more poetic. In that case, with the series “Naked Modesty” it was through fine art and poetry that Danny and I approach our theme.

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Photographed by Dinesh Sahoo.

Homegrown: Why self-portraits in particular as opposed to other approaches?

Dinesh Sahoo: My introduction to photography was for very personal reasons. I was lonely and didn’t really have too many people to talk to. That’s when I found solace in photography and started taking self-portraits. This series is very close to me and it’s my raw emotions that I wanted to depict through the self-portraits.

Phylactère: The way I work and create requires people ready to let go of their ego and knowledge, and especially the idea that they have to stick to a role. I am not looking for perfection in my shots when I photograph, or in my poses when I model. I am looking for honesty. Sometimes it is not perfect, but this perfection creates a tension that (I hope) brings the viewer back to this discomfort everyone experiences in life. Human beings always try to fix and make things perfect, we always tend to avoid certain sensations. But life a constant search of balance, like a rope walker. The perfect balance doesn’t exist. This moment of creation, doing self-portraits, not knowing where we are going but still having the clear sensation that we are following an invisible way leading us somewhere, that is what I was after.

Homegrown: Considering the fact that you shot in India, what are your views on India’s approach towards nudity?

Dinesh Sahoo: I created a separate Instagram account just for this series. My colleagues, friends and relatives follow me. But a while back when I posted a nude self-portrait, it became uncomfortable for the people viewing it and me too. I was mocked. So, the new account is only for strangers. They expect nothing from you, there is no judgement. But this needs to change. Why is nudity a bad thing? Nudity is not just scandalous, it is beautiful. It’s sad that a nude photographer’s reputation in this country is extremely damaged.

Phylactère: I have done this self-portrait exercise a hundred times over the years, but it was the first time I was experiencing it in India. The theme was certainly different as I was aware of the cultural baggage and prejudices that my nude body was conveying. Although, Indian culture is very conservative about nudity even when it exists in an art space, what hit me during this trip was all the similarities with the West. Contrary to what India thinks, nudity is extremely misunderstood in the west, especially in North America. In many ways, it is not different at all. It took me many trips to India to become aware of all the misunderstandings lying between our two cultures.

Homegrown: What was the process that led up to the shoot like?

Dinesh Sahoo: It was all very spontaneous. It was just before evening time and the lighting was gorgeous. I asked Phylactere to just be herself, I wanted to photograph her body movements and expressions naked. We didn’t talk much during the shoot but it was so instinctive and intense and we just followed the course. Even the props used in the shoot weren’t pre-arranged. We just happened to find them at the studio and they worked perfectly with our vision. The glass panel became a transparent purda (veil) that reveals everything that is concealed and the tree was the common thread that connects all human kind.

Phylactère: The series that came to life was not set up in advance, we used what was available on set and started answering to the environment, creating a story with the props, bodies, movement, colours, textures and light. It was like a acting or dance improvisation. Because I have a bit more experience than Danny, I proposed some directions, how to use the elements in the frame and which mood and body gesture to bring into the pose, the intention to lead the exploration. Danny was extremely creative and ready to follow my instructions, as well as adding his own insight.

Photographed by Phylactère.

Homegrown: What impact were you looking to have with the series and have you had the desired response?

Dinesh Sahoo: I wanted more artists, both photographers and models to come together and explore artistic photography in India. Nudity should not be a taboo. Also, even though I created an anonymous account for the series initially, I’m okay with attaching my name to it because it has come to be so personal. I want all the people who I was hiding from to see this. When your work gets recognised, the people who criticise you are the first ones to give you appreciation.

Phylactère: In the photographs, nudity stands for a space where the person strips away from their social markers and image. It also stands for the vulnerability, the simplicity, the roughness of emotions, the sincerity of just being what I am when my masks fall down. I think the main goal of an artist is to challenge what is considered “normality” in a given society. The artist should keep things alive, questioning regularly to keep the minds aware. Today in our culture, people are scared about their body, this is something each of us should investigate, as the body is the root of our whole being, the door to the spiritual spheres. My photos are a call for simplicity, accessibility. Be alive, feel, don’t be scared of who you are. If I can get naked in front of you, with my clothes or emotions, it is an invitation for you to do the same. I create the way I do because I cannot do otherwise. But I am not looking for an impact or expecting any response. I am happy if people are touched, but if no ones care it’s the same to me, I do this work for myself. My work is like throwing a rock in the water, then you let the waves on the water appear and do their job.

All photographs are a part of Naked Modesty photographed and conceptualised by Dinesh Sahoo and Phylactère.

Exploration : Autoportrait & Regards croisés

Exploration : Autoportrait & Regards croisés

Ce matin là je pars avec Stéphane qui va m'assister pour ma série d'auto-portrait. Mon déclencheur à distance qui me sert normalement à faire mes autoportraits est brisé, du coup il me faut quelqu'un pour travailler pour moi.
This morning I am leaving with Stéphane who is going to help me for my self-portrait series. The radio trigger that normally serves me to make my self-portraits is broken, so I need someone to work for me.

Damian Siqueiros

Notre ami Damian vient de finaliser un très beau projet qu'il a entamé l'année passée en Corée du Sud avec un groupe de danseurs. J'ai voyagé avec lui et ai écrit un article qui parle de la démarche artistique, mettant aussi en lumière les difficultés qui peuvent être éprouvées dans le processus de création, face aux institutions avec lesquelles l'artiste travaille, tout autant que les questionnements personnels, ou encore l'environnement qui demande de s'adapter.

La démarche artistique de Damian met en scène le Beau dans les différences, par exemple avec Sabina Sojin Yoon qui possède une alopécie quasi complète sur son corps.

 

Our friend Damian has just finished a very beautiful project that he started last year in South Korea with a group of dancers. I travelled with him and wrote an article that talks about the artistic process, which also highlights the difficulties that can be experienced in the creative process, the institutions with which the artist works, as well as personal questions, or the environment that demands to adapt.

Damian's artistic approach features the beautiful in differences, for example with Sabina Sojin Yoon who has almost complete alopecia on her body.

Damian et Sabina durant leur session photo sur une plage de Séoul |  Damian et Sabina during their photo session in one of Seoul's beach.

Damian et Sabina durant leur session photo sur une plage de Séoul | Damian et Sabina during their photo session in one of Seoul's beach.

Pour voir et en savoir plus sur l'histoire de chaque photo, l'article complet est publié dans le magazine en ligne de Never Apart.

To see and learn more about the history of each photo, the full article is published in Never Apart's online magazine.

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Inspiration : La chambre claire. Note sur la photographie

La chambre Claire de Roland Barthes, ou qu'est-ce qui rend une photographie intéressante?

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...il y a des moments où je déteste la Photo : qu’ai—je à faire des vieux troncs d’arbres d’Eugène Atget, des nus de Pierre Boucher, des surimpressions de Germaine Krull (je ne cite que des noms anciens)?”
— Roland Barthes
 

Je préfère souvent parler de la technique et des outils plutôt que des concepts ou de la démarche... La vérité c'est que je ne sais pas pourquoi je fais de la photo, tout comme je ne sais pas pourquoi j'ai fait de la bande dessinée, il y a quelques années. Je me suis plus souvent posé la question "comment?" que "pourquoi?". D'une certaine façon, les pourquoi/les sujets se sont imposés comme une évidence depuis que l'art est rentré dans ma vie. J'ai toujours aimé l'idée de photographier, comme l'idée de peindre, de dessiner, de sculpter ou d'observer tout simplement. J'aime regarder, sans chercher à comprendre pourquoi ni quoi. 

À la relecture de La chambre Claire de Roland Barthes, que j'avais lu pour la première fois il y a 25 ans, je suis forcé de porter un regard neuf sur mon propre travail, la photo digitale, le nu, ainsi que sur le type de photographie que j'aime. C'est un livre absolument nécessaire pour tout photographe ou artiste prêt à l'introspection et en quête de sens dans leur art. Loin des prouesses et connaissances techniques, il provoque un questionnement profond au coeur de l'artiste face à son art et chez toute personne qui apprend à regarder. 

Photographe, photo, spectateur et l'élément mémorable d'un cliché

 
Roland Barthes, anonyme vers 1930

Roland Barthes, anonyme vers 1930

Publié en 1980, La Chambre Claire est un ouvrage atemporel qui se lit en quelques heures. Usant d'un ton intime, le questionnement et la réflexion que Barthes pose ne se démodent pas.

À la première lecture, l'ouvrage vous laisser avec cette image que la photographie est un acte emprunt d'une certaine poésie, tragique et sentimental à la fois. Barthes porte un regard humain sur la photographie et son appréciation. Il décortique le rôle et la relation entre le photographe qu'il nomme Operator, le sujet qu'il appelle Spectrum et le spectateur ou Spectator.

Barthe n'étant pas lui même photographe, il s'intéresse plutôt à la place du Spectator et prend donc la parole pour décrire ce qu'il ressent en regardant des photos, ce qu'il en comprend, ce qui l'anime ou le laisse indifférent. Pour lui, la photographie existe à travers celui qui regarde l'image. Ainsi, de la photographie qui montre objectivement quelque chose (Studium) à la photo ponctuée de quelque chose de mémorable (le Punctum), il aborde les types de surprises qu'évoque la photographie chez le Spectator. Il en résulte une série de concepts qui permettent de prendre du recul sur la photographie et de la mettre en relation avec des questionnements plus importants, tel le temps, l'amour et la mort. De l'image, Barthes en tire des concepts abstraits basés sur un questionnement sincère qui trouve sa résonance dans les émotions...Car pour Barthes, ce sont ces émotions qui animent le Spectator

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Un jour, il y a bien longtemps, je tombai sur une photographie du dernier frère de Napoléon, Jérôme (1852). Je me dis alors, avec un étonnement que depuis je n’ai jamais pu réduire : “Je vois les yeux qui ont vu l’empereur”. Je parlais parfois de cet étonnement, mais comme personne ne semblait le partager, ni même le comprendre (la vie est ainsi faite à coups de petites solitudes), je l’oubliais” 
— Roland Barthes
Utilisation de gravures et illustrations de Dürer pour imager le concept de Barthes

Utilisation de gravures et illustrations de Dürer pour imager le concept de Barthes

L'Operator

Si Barthes parle surtout du point de vue du Spectator, j'oserai partager mes motivations d'Operator, position qui me semble aussi être cruciale dans le processus de vie de la photographie, de la mise en image. 

Mon point de vue a cela de particulier, je n'ai pas besoin de la photographie pour vivre économiquement parlant. Je glisse donc dans une exploration sans but précis...instinctivement.  Mon besoin de faire et de partager ma photographie s'exprime comme des témoignages ou une collection de moments. Les séries de Fragments illustrent bien ce plaisir qui me donne souvent l'impression de documenter une performance très peu/jamais chorégraphiée à l'avance.  Je réalise le privilège et la chance de pouvoir capter certains instants dont je suis le spectateur.  Et puis il y a le désir de partager et de communiquer cette joie presque empli de fierté comme si l'image était une manière de dire 'j'y étais"

 
Ce que la photographie reproduit à l’infini n’a eu lieu qu’une fois : elle répéte mécaniquement ce qui ne pourra jamais plus se répéter existentiellement.”
— Roland Barthes
 

Sur mon site, Phylactère avait elle-même écrit la description de mon procedé, il y a 2 ans déjà:  

"Ce n'est pas à propos du photographe : je suis témoin, en quête d'angles, de couleurs, de lumière et de textures.
Les modèles me racontent et partagent avec moi leurs histoires.
J'en capte les instants".

Elle avait vu juste. Je ne chercherai pas plus loin... du moins pour l'instant. 

 
Un mot existe en latin pour désigner cette blessure, cette piqûre, cette marque faite par un instrument pointu; ce mot m’irait d’autant mieux qu’il renvoie aussi à l’idée de ponctuation et que les photos dont je parle sont en effet comme ponctuées, parfois même mouchetées, de ces points sensibles; précisément, ces marques, ces blessures sont des points. Ce second élément qui vient déranger le studium, je l’appellerai donc punctum; car punctum, c’est aussi : piqûre, petit trou, petite tache, petite coupure — et aussi coup de dés. Le punctum d’une photo, c’est ce hasard qui, en elle, me pointe (mais aussi me meurtrit, me poigne).”
— Roland Barthes
"La photo est belle, le garçon aussi : c’est le studium. Mais le punctum, c’est: il va mourir. Je lis en même temps : cela sera et cela a été; j’observe avec horreur un futur antérieur dont la mort est l’enjeu. En me donnant le passé absolu de la pose (aoriste), la photographie me dit la mort au futur. Ce qui me pointe, c’est la découverte de cette équivalence. Devant la photo de ma mère enfant, je me dis : elle va mourir, je frémis, tel le psychotique de Winnicott, d’une catastrophe qui a déjà eu lieu. Que le sujet en soit déjà mort ou non, toute photographie est cette catastrophe."

"La photo est belle, le garçon aussi : c’est le studium. Mais le punctum, c’est: il va mourir. Je lis en même temps : cela sera et cela a été; j’observe avec horreur un futur antérieur dont la mort est l’enjeu. En me donnant le passé absolu de la pose (aoriste), la photographie me dit la mort au futur. Ce qui me pointe, c’est la découverte de cette équivalence. Devant la photo de ma mère enfant, je me dis : elle va mourir, je frémis, tel le psychotique de Winnicott, d’une catastrophe qui a déjà eu lieu. Que le sujet en soit déjà mort ou non, toute photographie est cette catastrophe."

Punctum

Barthes parle de l'appréciation unique que chaque Spectator ressent face à la photographie...Le Punctum est personnel, individuel, voire existentiel...

Mon Punctum à moi, si je l'applique à mes goûts en général, il va à ces images qui vont au cœur de la vie, qui offrent cette fenêtre étonnante sur le monde, lorsque la poussière est dense et la posture raconte.  J'aime savoir qu'il y a un peu partout ces photographes qui dédient une partie de leur existence pour témoigner et regarder le cycle de la naissance, la mort, la souffrance et les sourires. Ils sont là. 

Ma photographie ne détient pas la vérité qui m'émeut dans ces images mais c'est ma réalité, c'est ce qui me traverse dans l'instant, qui s'impose à moi, comme je le disais au début... À défaut de savoir pourquoi je fais des images, je sais que j'aime le geste de photographier et je sais que je suis animé par le témoignage, le récit...celui de mes proches, de ceux que j'aime, comme celui de la vie des autres.

Je suis curieux...L'avez-vous lu? L'avez-vous aimé?

 
 
I have been a witness, and these pictures are my testimony. The events I have recorded should not be forgotten and must not be repeated.
— James Nachtwey
 

Exploration: La Composition

Exploration: La Composition

La composition d'image est un amalgame de différents ingrédients. C'est l'organisation des éléments que l'on retrouvent dans l'image, telles que les lignes droites ou les formes, mais ce sont aussi les couleurs, les textures, les lumières et les ombres ou encore la profondeur de champ...
mage composition is an amalgam of different ingredients. It is the organization of the elements that are found in the image, such as straight lines or shapes, but also colors, textures, lights and shadows or depth of field...

Training: Guide to art modelling through experience

Training: Guide to art modelling through experience

Être modèle artistique c’est travailler avec son corps, la nudité, ses émotions, pour des artistes peintres, dessinateurs, sculpteurs ou photographes. La bonne nouvelle, c'est que dans ce monde, n'importe qui peut être modèle. Il n'y a pas de corps ou de personnalité standard car l’accent est mis sur la présence qui émane du corps plus que sur sa plastique...
To be an artistic model is to work with your body, your nudity and your emotions, for painters, drawers, sculptors or photographers. The good news is that in this world, anyone can be a model. There is no standard body or personality because the emphasis is on the presence that emanates from the body rather than on its appearance...

Exploration: A Brazilian Tale / Exploração-Uma-lenda-brasileira

Exploration: A Brazilian Tale / Exploração-Uma-lenda-brasileira

Lumière qui habite l'espace, je redécouvre mon corps qui change tout le temps, constamment...

Light that inhabits space, I rediscover my body that changes all the time, constantly...

Exploration: Inspiration from comic books

Dans un exercice d'auto-analyse, j'ai essayé de comprendre pourquoi je cadrais de telle ou telle façon, pourquoi les couleurs, pourquoi les modèles, les personnages?

C'est dans la BD que je pense avoir trouvé une grande influence. Les comic books de Marvel, dans les années 70 et 80 ont profondément marqué mon imaginaire. Les dessins de Jack Kirby, John Buscema, John Byrne parmi d'autres, où les poses sont toujours iconiques, centrées, évoquant la force, les victoires ou la détresse du héros. 

C'est à partir de cette inspiration que j'ai eu l'idée de faire des tests visuels avec des photos de Fragments, dans lesquelles j'ai intégré les élément empruntés aux pages couvertures des comics de Marvel. Un univers parallèle est apparut.

Je vous partage quelques résultats de l'expérience. Amusant à faire, ça m'a aussi confirmé que le bagage de l'artiste, peu importe d'où il provient, teinte inévitablement et inconsciemment son regard. 

"Excelsior!"

In an exercise of self-analysis on my photography, I tried to understand why I frame in such and such a way, why colors, why models, characters?

It is in comic books that I have found a great influence. Marvel comics in the seventies and eighties deeply marked my imagination. The drawings of Jack Kirby, John Buscema, John Byrne among others,  where the poses are always iconic, centered, evoking force, victories or the hero's distress.

It is from this inspiration that I had the idea to start making visual tests with Fragments' photos, in which I incorporated the elements borrowed from the cover pages of comics books. A parallel universe appeared.

I share with you some of the results. It was fun to do and confirmed that the luggage of the artist, no matter where it comes from, inevitably and unconsciously tints his eyes.

"Excelsior!"

Finding Vivian Maier

This full-time nanny turned viral a few years back when a young man bought a box containing personal items and undeveloped films without knowing what he would discover. At the time, Vivian Maier was nonexistent to the public world. The young man started developing the films and found an incredible body of work. He started researching about the life of this mysterious woman to understand the context in which the photos were taken and who was the person behind the camera that unveiled the multiple self-portraits glass reflections scattering her films. 

Last night, I watch her documentary on Netflix called "Finding Vivian Maier" and it is really good...

Vivian was an interesting being, and her work was unquestionably brilliant. In her photos, she shows the world how she perceives it - full of contradictions and emotions. She mixes humour, drama, fashion, street actions, children, old people, poor, rich.

She had an attraction for the bizarre, for the mystery of the human hood. She was collecting stories in the newspapers, and doing pretty much the same thing with her photos: gathering together all types of human beings in all sorts of situations. She had a talent for seeing emotions, capturing the "in between" moments in someone's expression. She was not frightened or shy by drama. Her photos show that she did not care about bothering people while photographing them.

 

“WE HAVE TO MAKE ROOM FOR OTHER PEOPLE. IT’S A WHEEL – YOU GET ON, YOU GO TO THE END, AND SOMEONE ELSE HAS THE SAME OPPORTUNITY TO GO TO THE END, AND SO ON, AND SOMEBODY ELSE TAKES THEIR PLACE. THERE’S NOTHING NEW UNDER THE SUN.”

VIVIAN MAIER

 

One can feel through her work that, in a way, all emotions and scenes are equally observed. When the boy she was nannying got hit by a car in the street, instead of helping him she started taking photos. When another was crying, instead of cuddling she would take her camera. In her photographs she appears like an observer, not concerned by this life but totally fascinated by how things develop, are felt and displayed in the moment. She is an active witness of how life is lived. 

Vivian knew her work was good but hated to develop her photos. Being a good photographer doesn't mean being good at post production and developing images. She did not like developing her own work, it is why she kept so many roles undeveloped.

I am specially sensitive to her self-portrait work. She was not beautiful in the common sense of beauty standards, but she certainly had a personality that is intriguing, scary sometimes and funny at the same time. She has a sense of beauty that shows the world how it is - nude in its diversity, the real beauty hidden in detail light and situations. I am convinced she was full of tenderness even thought she was obviously fighting her own demons.

Today, she has entered the community of great photographers who have made the history of this art. She is recognized and acclaimed by masters by especially by common people, because her work touches the simplicity of life in such an honest way that it is hard not to find each of us through her clichés.

Liv, la petite modèle

Liv, la petite modèle

I have always been fascinated by the simple fact that we all have different perspectives on the same object which is the world we live in. In my work in general, I realize that I tend to often let the roles' structure fade away: taking photos of the photographer, let the model take a photo of me, include the photographer or the model in a self-portrait series.