The project brings together five years of photographic work and research by London based French Artist Alix Marie. Her practice merges sculpture, photography and installation and explores our relationship to bodies and its representation through processes of objectification, fragmentation, magnification and accumulation.
The work sits in contemporary discourses around the theory and history of the photographic medium. Alix uses technology’s advances to print onto various materials from PVC plastic to cardboard, glass or fabric. The digital is used here to push photography towards a physical and visceral experience. Images are often shot, printed and arranged in an installation or three-dimensional form in order to be photographed again.
The photograph is considered first and foremost as object and is explored through its potential for materiality, touch, and three-dimensionality. Skin and it's similarities to the photograph are investigated: both surfaces, both fragile, both filled with secrets and taboos.
The impossibility of grasping a body is inherent to the medium of photography as much as to human relationships, yet in doing both at once, the insatiable is soothed. There is vampirism in this quest, and often images and prints are reused, as the monster of photography feeding off itself. The violence in the photographic take, the impulse of possession develops into frustration with the print, which needs to be digested again, reshaped, crinkled up, re-photographed, reworked in a Sisyphus like never ending task.