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Saturated colors, zebra-striped tanned skins, absurd hairpieces, one is approaching the imagery of pornographic films of the seventies, except for certain codes that have been omitted. In imaginary coitus, one searches for the body of an other, its imprint or rather the quincunx of two bodies as is usually presented to us.” Voyeurism of a pornography which has not been written, a mise en abyme where the gazes are abandoned and lost between the lines; what the interstices expose is the revelation of what it is usually forbidden to see: the process of creation. On the altar of eroticism, on the margins of pornographic theatre, the coitus sequences have been sacrificed, abandoned, hidden. There remains only the off-camera, a breach in time, quick and accidental. We participate as a spectator at an uncomfortable moment, captured at random, extracted from the diary of an actress or from a model seen during her break, after entering the scene or before resuming the pose. An intimacy exhibited in the raw, halfway between art and life, which could easily remind us of the erotic approach of Asian photographers Araki or Ren Hang. Pornography seeks to respond to a paradigm. At first look all is smooth, devoid of roughness, with the photographic eye as the eye that reveals this basic raw material (the dirty, the unpresentable), which culture has the function of hiding, of obscuring (as in Freud’s “Civilization and its Discontents”). Culture serves to not see a part of the flesh that is unexposed, that is embarrassing. “You gave me your mud and I made it into gold,” said Baudelaire.
Saturated colors, zebra-striped tanned skins, absurd hairpieces, one is approaching the imagery of pornographic films of the seventies, except for certain codes that have been omitted. In imaginary coitus, one searches for the body of an other, its imprint or rather the quincunx of two bodies as is usually presented to us.” Voyeurism of a pornography which has not been written, a mise en abyme where the gazes are abandoned and lost between the lines; what the interstices expose is the revelation of what it is usually forbidden to see: the process of creation. On the altar of eroticism, on the margins of pornographic theatre, the coitus sequences have been sacrificed, abandoned, hidden. There remains only the off-camera, a breach in time, quick and accidental. We participate as a spectator at an uncomfortable moment, captured at random, extracted from the diary of an actress or from a model seen during her break, after entering the scene or before resuming the pose. An intimacy exhibited in the raw, halfway between art and life, which could easily remind us of the erotic approach of Asian photographers Araki or Ren Hang. Pornography seeks to respond to a paradigm. At first look all is smooth, devoid of roughness, with the photographic eye as the eye that reveals this basic raw material (the dirty, the unpresentable), which culture has the function of hiding, of obscuring (as in Freud’s “Civilization and its Discontents”). Culture serves to not see a part of the flesh that is unexposed, that is embarrassing. “You gave me your mud and I made it into gold,” said Baudelaire.
Saturated colors, zebra-striped tanned skins, absurd hairpieces, one is approaching the imagery of pornographic films of the seventies, except for certain codes that have been omitted. In imaginary coitus, one searches for the body of an other, its imprint or rather the quincunx of two bodies as is usually presented to us.” Voyeurism of a pornography which has not been written, a mise en abyme where the gazes are abandoned and lost between the lines; what the interstices expose is the revelation of what it is usually forbidden to see: the process of creation. On the altar of eroticism, on the margins of pornographic theatre, the coitus sequences have been sacrificed, abandoned, hidden. There remains only the off-camera, a breach in time, quick and accidental. We participate as a spectator at an uncomfortable moment, captured at random, extracted from the diary of an actress or from a model seen during her break, after entering the scene or before resuming the pose. An intimacy exhibited in the raw, halfway between art and life, which could easily remind us of the erotic approach of Asian photographers Araki or Ren Hang. Pornography seeks to respond to a paradigm. At first look all is smooth, devoid of roughness, with the photographic eye as the eye that reveals this basic raw material (the dirty, the unpresentable), which culture has the function of hiding, of obscuring (as in Freud’s “Civilization and its Discontents”). Culture serves to not see a part of the flesh that is unexposed, that is embarrassing. “You gave me your mud and I made it into gold,” said Baudelaire.
Saturated colors, zebra-striped tanned skins, absurd hairpieces, one is approaching the imagery of pornographic films of the seventies, except for certain codes that have been omitted. In imaginary coitus, one searches for the body of an other, its imprint or rather the quincunx of two bodies as is usually presented to us.” Voyeurism of a pornography which has not been written, a mise en abyme where the gazes are abandoned and lost between the lines; what the interstices expose is the revelation of what it is usually forbidden to see: the process of creation. On the altar of eroticism, on the margins of pornographic theatre, the coitus sequences have been sacrificed, abandoned, hidden. There remains only the off-camera, a breach in time, quick and accidental. We participate as a spectator at an uncomfortable moment, captured at random, extracted from the diary of an actress or from a model seen during her break, after entering the scene or before resuming the pose. An intimacy exhibited in the raw, halfway between art and life, which could easily remind us of the erotic approach of Asian photographers Araki or Ren Hang. Pornography seeks to respond to a paradigm. At first look all is smooth, devoid of roughness, with the photographic eye as the eye that reveals this basic raw material (the dirty, the unpresentable), which culture has the function of hiding, of obscuring (as in Freud’s “Civilization and its Discontents”). Culture serves to not see a part of the flesh that is unexposed, that is embarrassing. “You gave me your mud and I made it into gold,” said Baudelaire.
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Pornography - Limited Edition 1 of 3 Photograph

Nathalie DE ZAN

United States

Photography, Color on Paper

Size: 75 W x 50 H x 0.3 D in

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Originally listed for $710
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About The Artwork

Saturated colors, zebra-striped tanned skins, absurd hairpieces, one is approaching the imagery of pornographic films of the seventies, except for certain codes that have been omitted. In imaginary coitus, one searches for the body of an other, its imprint or rather the quincunx of two bodies as is usually presented to us.” Voyeurism of a pornography which has not been written, a mise en abyme where the gazes are abandoned and lost between the lines; what the interstices expose is the revelation of what it is usually forbidden to see: the process of creation. On the altar of eroticism, on the margins of pornographic theatre, the coitus sequences have been sacrificed, abandoned, hidden. There remains only the off-camera, a breach in time, quick and accidental. We participate as a spectator at an uncomfortable moment, captured at random, extracted from the diary of an actress or from a model seen during her break, after entering the scene or before resuming the pose. An intimacy exhibited in the raw, halfway between art and life, which could easily remind us of the erotic approach of Asian photographers Araki or Ren Hang. Pornography seeks to respond to a paradigm. At first look all is smooth, devoid of roughness, with the photographic eye as the eye that reveals this basic raw material (the dirty, the unpresentable), which culture has the function of hiding, of obscuring (as in Freud’s “Civilization and its Discontents”). Culture serves to not see a part of the flesh that is unexposed, that is embarrassing. “You gave me your mud and I made it into gold,” said Baudelaire.

Details & Dimensions

Photography:Color on Paper

Artist Produced Limited Edition of:1

Size:75 W x 50 H x 0.3 D in

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Nathalie De Zan is a French multimedia artist born in 1985 in Toulouse, France. She has a twin sister with whom she has a very strong bond with and tells about their relationship in some of her artwork. She developed early on a taste for art by her grand-mother who pushed for her to be sent to a children’s art school. Fascinated by art, color and poetry, she decided to go this path. In 2010 she graduated with a Master of Fine Art from the Jaurès University of Toulouse. During the first years at university she started to become fascinated by the French and German tales. She did an internship at the Collège de France in Paris with Patrick Imbert who taught her the photographic studio techniques. She did her first exhibition in 2009 after that she started to show her works in various places around France. After this period she really started to develop her own creative process using influences from her dreams. Her works remain autobiographical and show some attributes of feminism, pop art, and erotica. Absurd, surreal and sometimes naive, her artwork has become more and more full of colors. In 2016 she travelled to Japan which sparked her imagination and gave her the desire to play with perspective and sharp shapes. She moved in 2017 to the United States where she currently works and lives. Since then, she has shown her works in France, Italy and the United States. Her last shows were at Novado Gallery, Barsky Gallery, and Prime Gallery in the United States. More info on : dezannathalie.fr

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