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Photo d'hôtel, photo d'auteur

”On pourrait s'attendre à quelque chose de banal, de luxueux ou de touristique et pourtant non : les photographes sélectionnés livrent une oeuvre fragile, éphémère à l'image d'un séjour, éternelle à l'image d'un papier glacé comme un souvenir. Parmi les photographes en lice cette année, nous retenons Pauline Thomas (ci-dessus) et son reflet du couple en tête de lit, deux cous de cygnes qui ne révèlent pas leurs visages, décadrant les clichés des lits, des duos et des chambres à coucher. “

La galerie du Mur, rue Charlot
sur fffound.com

Pauline Thomas, photographe de 28 ans qui passe son temps entre Paris et Londres nous offre là sa vision de l’être humain, débarrassé de son carcan social ainsi que de son identité sexuelle. À l’origine de ce travail photographique, un apprentissage technique de la voix. Sa gorge était alors l'organe à dompter. Mais comment ça marche. L’interaction entre ses émotions et ses intentions était parfois très sensible, dit-elle.

Une photo résultera de cette question, son propre cou. Et de ce cou une série. C’était il y a deux ans. Des hommes, des femmes qui en s’abandonnant, la tête tirée en arrière, dans cette posture extatique et quasi orgasmique redeviennent des êtres à l’état brut nous offrant leurs jugulaires si protégées en temps normal. Dans ce vide temporel, les chairs sont décomplexées et vidées de toute conscience.
https://www.imagesetportraits.fr/pagez/lesimagesdumur/projets/gorgeous/


https://rss.ireport.com/docs/DOC-410493

Paris..on rue Charlot,....just off rue Bretagne in the Marais, one of the oldest districts of Paris, is a small photography studio which, with the permission of the city, features photo exhibits on a wall adjacent to the studio.

This current exhibit is a series titled "Gorgeous."

It is a series of 115 photographs made over a two year period by Pauline Thomas, a 28 year-old French conceptual photographer who spends her time between Paris and London.
....without faces, she sees these as portraits...the heads, turned to the rear,...necks tensed,..creating a new identity...often disguising the gender...
....Pauline describes the exposition as a prayer and call for people to re-think their identity and go beyond their usaul concepts of their identity.....Who knows?..anyway, it's her show and I'm not stickin' my neck out praying that people are going to re-exmine their everyday identity.
....regardless of what you think of the exhibit you may suddenly become aware of necks as never before...
A friend, who does body-work, has expressed to me that she finds "the neck" the most intriguiging part of the human body...perhaps that's because neck problems bring her most of her patients...anyway, "necks" ...even though they're a pain sometime, you can't live without 'em.


La Scatola Gallery

1 Snowden Street, London EC2
26/01/2011 - 26/03/2011

Among the shiny business towers of the Bishopsgate area, just before the City peters out into Hackney, a new gallery at accessible ground level has opened its clear glass doors to the public. Manager and curator, the exuberant Valentina Fois, has made the transition from initially the Italian fashion design scene and later event co-ordination, to London to pour her enthusiasm for contemporary art into La Scatola, the Italian word for The Box.
...
French conceptual artist Pauline Thomas shows a selection from the 123 portraits she has taken of necks, using her Nikon D200 SLR. As she did so, she “discovered another face” of the sitters. Indeed this is another dimension – we instinctively protect our neck, as a highly vulnerable part of the body, when threatened.
Inspiration for Pauline’s project came from her learning to sing, which made her curious as to what goes on in the throat. Necks pose an interesting gender question: can you tell feminine from masculine? The blurring in some of the photos eliminates masculine or feminine, apart from one showing a stubbly chin, and the angle of shoot and dark background helps produce a masculine eroticism in all these necks. Her photos were taken over two years, but in one mass neck-in, or should that be neck-out, some 50 people were asked to sit, or rather crane their necks, for her during a weekend party. This is far from pure photography: it is a way of seeing human beings, and as with many oil paintings, the perception changes as the viewer moves to a new position. The prints are on fine art paper, mounted on Dibond, a lightweight composite aluminium material.
JAMES BREWER