Annabel Aoun Blanco is of French Lebanese-Venezuelan heritage. She was born in Paris, where she lives and works.
Aoun Blanco’s work dramatizes the critical relationship between her images of faces and bodies, and the identities that reside within them. Any process in the visual arts which creates images of people, tends to be a form of seduction, generating “appearances” which mask, or even substitute for the intrinsic reality of the beings that they represent.
Annabel Aoun Blanco creates photographic set pieces (using such elements as opaque liquids, condensation on glass, air bubbles in water, or solidified matter); which allow her to prevent her human models from controlling heir own image. The constraints imposed by the materials and the process of immersion remove the model’s capacity to project the way in which he or she desires to be portrayed. These constraints are an integral part of the aesthetic, the visual construction of the images, but they also affect the psychological condition of the model during the creation of the photographs. The material, the set-piece process, creates this double dynamic, where a climate of physical restraint, nearly claustrophobic, forces the model into another space…a world “between”, where life and death, the carnal and the phantasmagoric, co-exist. In order to reach this other place, between two worlds, where life is revealed in different way, Aoun Blanco felt she could not depend on the traditional relationship of reciprocal valorization between photographer and subject. The narcissism inherent to our condition feeds on appearances. Submerging faces and bodies, fragmenting them, enveloping them, allow her to divert appearances, to make them retreat, or on the contrary, to push them to the point of a transformation, unknown as yet to the model or the artist herself.
This is the direction in which Annabel Aoun Blanco’s work is progressing: to “reveal” physically and mentally what these bodies and faces may hold hidden…even as they are ready to exposed. The nature of the dispositive, and the photographic tool itself (the constraints, the material, the fixing of movement, the light) which hide and reveal at the same time, allow Annabel Aoun Blanco to erase certain elements of her representations of humans and to reveal others. By leaving in, or taking out features that she chooses, she attempts to emphasize that which is essential. She tries to question the very nature of the being and of his representation with a subtle mixture of the morbide and the sensual.
These representations oscillate between appearance and disappearance. The element of back-and-forth defines the artist’s zone of exploration – that which is between life and death. Her representations belong neither to the abyss of the beyond, nor to the tangible space of the living. This thin gap, like a window in space by which a vehicle can leave the Earth’s atmosphere, leads her to call this zone of research an “interstice”.
She explores the mysterious process of recollection and forgetting. What form does a memory take? What is its incarnation? What stages does it pass through as it is formed, or deleted?
Ce message est également disponible en : French