Pierre Jahan Main aux yeux 1947
I don’t think irony’s meant to synergize with anything as heartfelt as sadness. I think the main function of contemporary irony is to protect the speaker from being interpreted as naive or sentimental.
Photoset with 350 notes
How To Sleep by Gjon Mili, New York, 1943
1. Model lying on back demonstrating tense breathing that produces rapid chest expansion causing blurred image.
2. Stroboscopic image of model lying on back & dropping arm w. fingers held in tense position during sleep.
3. With forearm tensed model shows tense way of dropping hand.
Herbert List - Eggs in Spalato II, 1937
Étoile de mer by Salvador Dalí, 1950
Original illustration for Dali’s surrealistic Starfish Broach
Photoset with 44 notes
Photo with 90 notes
From The Drawings of Hans Bellmer by Hans Bellmer (with introduction by Constantin Jelenski), 1972
Kansuke Yamamoto - Walk Melancholy , 1949
From Map of Labyrinth
Photoset with 51 notes
Circeo Blu I and II by Camille Vivier
From Veronesi Rose, 2012
These girls? Their curves sketch infinity; their hollows end in, wisps of flesh, dark at times; their eyes pierce the image when they reach you. Waxy bodies drawing the image towards a less synthetic century. Artificial?
Bodies are framed, embedded and enclosed in a photograph. Caught in between limited spaces: in the depths of a boulder, on a rocky edge, on the top of a shelf. Impossible to escape. Bodies and curios end their way here: still lives aiming at anthropomorphic shapes. In a haze of orange, green, yellow or blue—everything surfaces and evokes the colors of ancient masters.
Another fact: these images are noisy. Noise, a misguiding word that silences light, and nourishes black and white for a richer silver print. These selfish pictures, pose, freeze out of a storyline. But they take everything they can from the present: urban oddities, the wanderings of a contempary eye, and fragments of a no longer ostentatious luxury. These images, they steal everything: remnants of forgotten French films, some Garrel, some Rivette—but there is no Amour Fou, only an imposed distance. Are they found images?
They don’t care about their times, because they curl up—in the city, in wilderness, in a studio or in a forsaken interior. They become a new kind of daguerreotype. It takes us the past to progress.
Light as feathers, round as breasts, these images are voluptuous, straightforward, they swallow everything. A sentence by Henry Michaux fits them well: “In the warm mist of a young girl’s breath I found a place…”.
— Fabrice Paineau on Vivier’s work
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