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Silvia B.

Silvia B.

Silvia B.

Text JF. Pierets    Photos & artwork Silvia B.

 

She affectionately calls them ‘my boys’, when she talks about her statues. A black and a white series of puppets that almost seem to come alive and that are created with a level of perfection that can only be understood as love. Some of them, with names like Thinker, Ira Jr., Lord Rangda or Mors, are part of the series ‘Les plus Beaux’, the most beautiful of them all. And that is what they are, strangely hovering between man and animal, transcending standard notions of beauty. In conversation with a most versatile and intriguing artist, Silvia B.  

 

All your statues are hybrids, age- and genderless yet existing in some perfect illusion. Highly attractive at first glance but disturbing at a closer look. 
I like to make my sculptures as beautiful as possible and I love them to be fluid. They are based on signs of our time. Stereotypes taken to the max. Not only regarding androgyny but also of genetic manipulation, cosmetic surgery. In this day and age you can become whomever you want to be or rather: whomever you have to be in order to fit in.I try to make my sculptures as beautiful as I can, just to arouse the viewers’ sense of duality. Attract them with craftsmanship but unsettle them on second look. Magnetism versus rejection. Not to mention doubt. I like the audience to be in doubt before they judge: that it’s not possible for them to instantly take a stand. For me it is important that you have to think about whether these creatures are beautiful or not and subsequently whether they are good or bad. Doubt is the basis of all thought and I like to advance that as a given. It is my vision on beauty; a kind of beauty that isn’t appreciated most of the time because there is always a dark side to it. Like film stills: you never know what is going to happen next.

Your representations challenge not only our conceptions of normality in regard to beauty but also in respect of human behaviour. 
I have always been interested in human behaviour. We are still so very instinctive, aren’t we? Everything we do is based on our desires and our fears. When you see someone on the street who looks a bit different you instantly decide, within three seconds, whether you are going to make eye contact or not. Is the other person a winner or a loser? Do I want to connect or could that be dangerous? We still behave like herd animals and at the same time we think of ourselves as being some kind of super-beings.

Super-beings with the possibility to explore genetic manipulation, cosmetic surgery, artificial intelligence. Is that why you made ‘Almost Perfect’? 
This girl was sitting in my atelier for quite a long time. I found her while strolling around a flea marked. She was so weird: an old doll, an anorexic avant la lettre. I knew there was a statue inside of her but I wasn’t quite sure where she was going. She was my skinny teenager who didn’t know whether to fall in love with boys or with girls. I gave her all the opportunities an era of the makeable human has to offer; the endless growing possibilities of plastic surgery. Her skin is stitched together and I gave her fashionably oversized lips. She is self-conscious of her pubescent breasts and tiny penis. I offered her a choice to grow into whomever she wanted to be.

And all of a sudden everything went black.
Once again I was drifting on the tide of time. Business was going well but all of a sudden the crisis kicked in. People bought less art; they were more careful with their money and I had to jump into a new future without a parachute. That was quite confronting. My white series exists very much in the ‘here and now’. Little boys, decadent and aggressive yet charming and confident regarding their place in time.The black series, starting with ‘Les Bêtes Noires’, is different: more introvert, more me maybe. Most of them have their eyes closed. Not only to give the viewer the freedom to stare but also to express an aloofness that borders denial. I wanted to give them the possibility to shut out the rest of the world. To be self-assured and in no need of approval.

You seem to have a huge fascination for the circus. 
My father always told me that they found me at the queue of a Russian parade. You are so weird, he said, you can’t be our child. So I kept on hoping the Tsar and Tsarina would come to get me and take me far away from these ordinary people. So who knows: maybe that is where this interest came from? I love the comical yet theatrical effect of the circus. Don’t you think it is strange that we find it funny when people behave like animals and vice versa? We buy tickets and laugh at people who look displaced. And isn’t it weird that we decorate our homes and ourselves with – literally – someone else’s feathers. It is quite morbid to take pleasure in the remains of dead animals. We think that we are some kind of superhuman beings, that everything is there because of us. We use all species except our own – well, exceptions left aside.

 

 

 

‘The gloves are ‘marked’ with what some people might call imperfections: freckles, scars, hairy moles or even a mutant-like extra thumb. Are they dissonances or signs of beauty?’

Children that are covered head-to-toe in hair are a constant factor in your work. 
Since time immemorial, extremely hairy people have been exhibited in traveling circuses so this inevitably lead to ‘Le Cirque’. A melancholic series of both children in fur and animals behaving like people. The atmosphere of those fancy fairs and the dubiously voluntary aspect of those shows made me choose to create them all in black. Fit for an environment where certain activities might not be suited to be exposed in broad daylight. The fact that everything is black forces you to concentrate on what you see, which strengthens the aspect of voyeurism.

You are not only displaying your work, but people can actually wear it. Your Skinover elbow length gloves offer the possibility to brave the day in someone else’s skin. 
When I started to create ‘Almost Perfect’, I first made her hands and I was trying them on myself, feeling the touch of the lambskin leather. Afterwards I couldn’t forget the sensation of living in someone else’s skin, as if I were actually wearing her. So that is where it all started. And since I like to question our current concept of aesthetics, I involved someone else’s tattoos, someone else’s birth marks, scars: to explore the edge between what is beautiful and what is not. The gloves are ‘marked’ with what some people might call imperfections: freckles, scars, hairy moles or even a mutant-like extra thumb. Are they dissonances or signs of beauty? Is everything that deviates from the norm a priori bad, strange? A brown spot on the face of a young woman is called a beauty mark; on the face of an old lady it is considered a shrew’s wart. Understanding this makes mainstream thoughts regarding beauty very relative.

Your work is closely related to fashion. 
I love fashion because it is the only art form able to react very quickly on what is happening in the world. Design, art and architecture for example, are much slower in their reflection. Fashion shows the way we are feeling in regard to politics or social issues. I was 18 years old when punk made its entrance and at the time, there weren’t any punk clothes or jewellery available here in The Netherlands; I had to make everything myself. I found them to be very creative and productive times. The ideas of no tomorrow, no future, party every day and wear your most beautiful clothes, were very inspiring. Since there was no future you had to do everything Now: tomorrow might be too late. In a way it is what I am still doing. Customizing things, bringing all those dolls to my atelier to check if there are statues hidden inside. I still play with dolls, only now I get paid to do so.

Inspiration is lifestyle? 
Yes. Magazines, movies, human behaviour, how we succeed in society: all very inspirational but quite complicated. Life itself is quite complicated so I like it if certain things stay the same. For example, 20 years ago I chose to have this hairdo and I am not going to change it anymore. I like to wear black, it feels comfortable, I am not going to change it anymore. If I have to make decisions about everything, I wouldn’t be able to work so I make it simple. I choose to keep it simple.

Leaves me nothing but to ask about your future plans. We have seen white, we have seen black. What else can we expect from a very versatile artist who wants to keep life simple?
The future looks very exciting! I am heading towards a solo exhibition and I don’t have a clue what I am going to show. I want to make new work; start all over again. Long live the internet where I can check images from all over the world without leaving the comfort of my atelier. I’ll keep you posted!

 

www.silvia-b.com
www.skinover.biz

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The Cabaret Switch

The Cabaret Switch

The Cabaret Switch

Photos Sin Bozkurt

 

When two of Et Alors?’s favorite artists decided to do a personae switch, a smile appeared on our faces. Queen of fetish cabaret and diva extraordinaire Marnie Scarlet, transformes into Mr. Pustra, Vaudeville’s Darkest Muse. We leave it up to them to tell you all about it. 

 

Name Marnie Scarlet
What Getting under Le Pustra’s skin

I have known Le Pustra for a number of years now and I have always valued and admired him as a person and a multi-faceted visual artist. We appreciate each other’s style which both compliments and contrasts. I love the inner strength of his various characters, the dark and melancholy aspects, as well as the beautifully executed make-ups and outfits. When Le Pustra approached me with the idea of a Cabaret Switch, I was honored and excited. We started laying out the plans and asked good friend and experienced Cabaret photographer, Sin Bozkurt to immortalize the project. We have both worked with Sin before and he understands both our characters very well. We decided to swap two of our Looks/Characters. We both have a pop-culture icon based act in our oeuvre: for Le Pustra that’s a phenomenal Klaus Nomi act, for me that’s a tribute to Marilyn Monroe in Warhol style. It was amazing to be transformed into le Pustra and to be transform by him in return. Quite spooky and magical. During the shoot we truly transformed into each other’s creations which was an amazing creative process. When some of the photos went up on our respective Facebook sites, it actually did cause confusion as to who was who, and what was going on. The reaction we wanted!

 

Name Le Pustra
What Wearing Marnie Scarlet’s (shiny) skin

I approached Marnie regarding this concept in late 2013 as there are so many similarities between our public personas. I thought it would be interesting to portray each other and see what happens. I really adore her visual style and skill as a latex designer and visual artist. Marnie was very happy to be involved and we decided on switching our ‘icon’ characters e.g. Klaus Nomi and Marilyn Monroe – both latex – and our signature ‘Marnie’ and ‘Le Pustra’ looks, e.g. the Pierrot clown and Rubber Dolly. Photographer Sin Bozkurt agreed immediately to be part of the project and we even used our favorite studio in London. I think it was quite tricky to do each other’s make-up and it was interesting to find out how well we knew our own faces. Yet doing our own face on someone else, was definitely a challenge. Marnie even made a latex outfit in my size to wear as her Rubber Dolly. How wonderful was that? Since she has let me keep it, there might be a chance you may spot a slightly larger Marnie running in the streets in the near future. I must confess how much I admire Miss Marnie for wearing her, sometimes restrictive, latex costumes. The amount of effort and thought she has put into those designs. I don’t know any other artist whose work is so detailed and so clever.Bravissima, Marnie! Collaboration between artists can be such a rewarding experience and Marnie is one of my most favorite people on the scene as she is just brimming with talent, color and energy. And she has a heart of latex gold. I would work with her any day and look forward to see how she evolves over the coming years. I expect nothing but greatness from the First Lady of Latex. It was a fun experience being someone else for a day.

 

www.marniescarlet.com
www.lepustra.com

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Gay in America

Gay in America

Gay in America

Text JF. Pierets    Photos Scott Pasfield

 

Scott Pasfield celebrates diversity in this first-ever photographic survey of gay men in America. Stereotypes are laid to rest and an intimate, honest picture of contemporary gay life is revealed through stunning personal portraits and narratives of 140 gay men in all 50 states. Joyful and somber, reflective and celebratory. A rare and honest book. 

 

Name Michael & Allen
Location Delta Junction, Alaska    

My partner and I have been in Alaska for ten years. We own an eighty-acre ex-dairy farm that we are trying to resurrect. Since 2006, we’ve been building a large (some would say huge) two-story house right in the middle of it. We’re finally getting siding on this month!  We’ve begun collecting milk cows; two are currently being milked, and two heifers were born this year. We’re also raising hogs and one of our sows had her second litter two weeks ago. The goats kept eating my garden, so I insisted they had to go. The farm looks out on the glorious Alaska Range, as well as the White Mountains and the Granites. Living here brings us closer to our dream of self-sufficiency.  I work as an environmental specialist for the Army. I am also chief of the Delta Junction Rescue Squad, an unpaid volunteer position that takes up many hours. Allen works for the state during the summer as a park ranger and is the true farmer between the two of us.  We’re two Southerners who moved here for my job. We were curious how such a small town would greet us, and discovered that everyone knew pretty much everything before we even got here. Small towns have no secrets – even if you want to keep them, which we did not. There was a week of polite but curious gossip and questions, and then nothing. Our lives as gay men here have been completely uneventful. In fact, it’s more like the movie Big Eden, where good-hearted, loving people have pushed us to share our lives with them in a way that completely surprised and overwhelmed me. For this reason alone, we are home.

Name Jakoury
Location Chester, Virginia

I live in what I would call a “retirement” town. There are lots of elderly people, everyone here is pretty conservative, and there are very few activities for people to do. When I entered high school I had just moved here from Atlanta, and it was an extreme change of pace for me. Everyone was quiet and tightly compacted into the stereotype of what was acceptable.  I always knew I was gay, and in Atlanta I was slowly beginning to show it. I told my mother before we moved away and she was fine with it, but I was afraid to tell my father. He was a military man straight out of the country; I doubt he had ever come into contact with a sexual minority, let alone spend time with one. When we moved, we left my mother behind. They weren’t quite divorced and they weren’t quite together. I guess they assumed that moving away from each other would help them realize what they really wanted.  When we got to Virginia I was excited about the fresh start; I could just come into school gay, no need for a back-story, no need to make friends, I could just be myself. I quickly found that being out of the closet wasn’t going to go over easy. Everyone in town was a carbon copy of each other. All the kids wore the same clothes and looked exactly the same. I forced myself to fit in, even carrying on relationships with girls from time to time. I was upset I had to act this way, to put up a front.  During a visit to my mother, I told her how unhappy I was. She explained to me that if the people at my school couldn’t accept me as gay then they really weren’t my friends at all, and that I wouldn’t know those people ten years from now. She said I shouldn’t be something I’m not just to impress people. On the way back to Virginia I decided I would be an out gay male, probably the first my town had ever seen. It was a long ride back, and I told my father everything. At first he was uneasy, but he told me he was going to love me regardless.  When I returned I cut my hair into a mohawk, got rid of all my masculine, loose-fitting clothes, and became more fashion-forward. I was on a high; I loved being myself. Unfortunately, other people didn’t. I was ridiculed, mocked, bullied, and harassed. People called me a faggot, wrote “fudgepacker” on my locker, and even threw things at me. Every night I would cry. I was so miserable. I got into fights and was beat up a few times. Someone vandalized my house, writing “faggot” across my front door. My father had enough. He put me in boxing classes and told me to stop being so passive. I spent the whole summer learning to defend myself.  On the first day of tenth grade I got in a fight and made an example of the kid. If anyone insulted me I would curse them out so bad that they’d never want to utter another word to me. I became a bit of a bad-ass, but I was happy because people stopped bullying me and started looking up to me. More and more, boys started coming out of the closet, and became examples of how happy gay teens could be. I started a small gay student association at my school and became actively involved in a youth group for teenagers in the city. I’m not worried about fitting in anymore.

Name Jacques & Abi
Location Sacramento, California

I live in Sacramento with Abi, my partner of more than thirty years. We recently married in front of twenty of our closest friends. Abi is very fond of telling me how he first observed me, long before we actually met, paddling my kayak upstream on the American River, which flows through the community where we currently reside. We have lived together since we met on the disco dance floor in 1976, where we were both inventing our own moves and steps. Abi moved to Sacramento from Detroit in 1973, and enjoys a semi-retirement as an antiques dealer. He collects antique miniatures and dollhouses and has an intense passion for finding and arranging furnishings for our home, which is dramatically filled with our shared interests. My hobby is riding and restoring antique bicycles. Using a bicycle built in 1886, I have set a two-hundred-mile distance and time record in Europe, and a one-hundred-mile distance and time record in Australia.  When I can pull him away, Abi and I enjoy traveling together to warm, exotic places.

Name Brian
Location Austin, Texas

I’m a bit of a maverick, a roamer, and a wanderer. The most stable time in my life was my childhood. Growing up in the Sierra Nevada Mountains in the small California town of Twain Harte, I spent all my time playing in the forest. We had miles and miles of woodland around us. As an adolescent I resented where I lived—it was too remote, too far from my friends. Now, as an adult, I envy those who are able to live and thrive there. I left home at eighteen and spent a few months in southern Oregon before returning to California to attend college, where I came out. After I graduated, I moved to San Diego, and learned all about computers and corporate life. I was young and eager to conquer the world, but after five years of living the gay lifestyle I longed to be back in the country. I found that just because I was gay didn’t mean that I had to conform to the city culture of gay life. San Diego had become too big for me and was not fulfilling on a spiritual level. I met a couple while on vacation who were moving to Austin and they suggested I take a look as a possible place to live. Texas was hot, but there were rolling hills and the people were friendly. I was living on four acres outside of Austin with a couple of friends, enjoying both the country and the many comforts that come with city life. Ultimately we lost the ranch to foreclosure, but I was able to turn what some saw as a tragedy into a dream come true. A few weeks before losing the house I bought a fifth wheel RV. I moved myself, my three dogs, and my cat into my escape pod. It has been two years since I made that move, and I have never been happier. I am now free to roam the country, taking my family and my home with me where ever I go. Native Americans had the right idea keeping their lives so mobile. There is nothing more liberating than coming home one day, hitching up the house, and moving on to another town miles away. The scene outside my windows changes regularly and I love the mobility. There truly is a different way of life for each of us, and I have found mine.

Name Trace
Location Orlando, Florida

I’m from the Deep South. I always knew I was gay. It was never a big issue for me. It didn’t affect the way I thought about myself or make me feel like any less of a man than the other guys at my school or the friends I grew up with. It never occurred to me that I had some need or desire to come out. Over time my family and friends realized I was gay, but there was no need to talk about that, any more than who my brother was dating, or the private lives of other family members.  If someone feels the need to ask me directly about my sexual preference, I have a few responses. If you’re an important person in my life, I’ll say yes of course I’m gay. If I’m asked in connection to a civil rights issue, I’m happy to stand up and be counted as gay and fight for our rights, as I do for all civil liberties. If you’re a relative stranger and are prying, I take the Southerner’s approach by politely saying that it’s my personal business and has nothing to do with you.

Scott, what triggered you to make this book?
I wanted to make a book that I wished existed when I was a kid. To show that as a gay man, you can go anywhere and do anything.

When I think about being gay in America, I think of only a few progressive countries. What did you experience?  
I think the gay world in America is certainly as diverse and varied as the straight world is. Slowly we are assimilating into mainstream culture and healing from all the discrimination that has been thrown our way. How that compares to the rest of the world, including other progressive countries, is still something I would like to investigate.

You chose to put all stereotypes aside. Why did you make that choice?
I tried to vary the men and stories as much as possible when selecting who to include. I felt it was important to do so, to be true to all types of gay men. Often only the a-listers get all the attention.

Why only men?
I chose to do this for many reasons, including healing from my own past. I saw it as a way to learn from other men who had gone through similar things. They opened up to me and felt comfortable doing so because I was one of them.

You travelled 54,000 miles across fifty states over a three-year span. You listened to stories and documented the lives of 140 gay men. What’s the most beautiful story you heard?
That is a tough one. Many of these men had such wonderful stories. I love Stephens’ in Miami who talks about coming out to his parents at a young age. They dragged him off to a psychiatrist who ended up telling the parents that they were the ones who needed therapy. Such a simple and wonderful tale, if only all of our parents were told so.

Can you tell me your own story? Coming out?
I write a little about my coming out in the book’s introduction. My father was a born again and on his third marriage when I told him. His belief was that I was doomed to go to hell and I should pray to change.  Religion is the root of so much hatred and making this book certainly allowed me to see that I was not alone.

Where did you find your models and how did you contact them? 
I put ads out on social media and dating sites, looking for guys who might be interested. It was very easy to sort out those men that truly wanted to take part in this. They had to believe in me and my mission and had to send me their ‘story’ before I would commit to photographing them.

What would you like to achieve with these pictures? What do you want the spectator to see?
I want to help educate those that struggle with their own sexuality and perhaps those that struggle with accepting gay men, perhaps even their own family members. We are all God’s children, all created equally. We all face the same issues.

The pictures are accompanied by essays. Do you find it important for people to know the story behind the models?
Absolutely. To hear their own words adds incredible depth to the portraits. The stories are as important as the photos.

You featured 50 states. Was it important to cover the entire country?
It was a goal I set for myself from the beginning and one of the parameters of the project. To look at the life of gay men in every state. I felt it was socially important to view the country as a whole.

As an artist, are you most narrator or photographer?  
I have always been more of a photographer than a narrator, but that is changing in time. This project has made me realize how important storytelling is to my job as a photographer.

Why is such a project important for you personally?
To make a difference is something we all aspire to do. I saw this project as a chance to do just that.

Future plans?
My partner and I renovated and opened an Inn and restaurant in Vermont last year and have been having fun getting it up and running. Getting out of the city and challenging ourselves with something new has been a wonderful change of pace. Yet my heart still longs for more photo projects like Gay in America. I’m heading to Los Angeles soon for more work and am looking forward to what that will bring. It’s all about balance.

 

www.scottpasfield.com
www.theinn.us

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What I Be Project

What I Be Project

What I Be Project

Text JF. Pierets    Photos Steve Rosenfield

 

The ‘What I Be’ project by photographer Steve Rosenfield almost sounds like the Et Alors? Magazine mission statement. It’s a global movement about honesty and empowerment. People pose with text written all over their face and arms. Starting with ‘I am not my…’ they courageously reveal their deepest non-‘standard’ state of mind, uncertainties and fears. Rosenfield started this project in the hope to open up the lines of communication. To help everyone accept diversity with an open mind and heart. Needless to say we like every image of it. 

 

The What I Be – project rose out of personal experience, or can we call it necessity? 
About 12 years ago, I was working as a network administrator at a big computer company in Boston, MA. I was a very opinionated and materialistic person with a huge ego and I thought being successful meant having a 9 to 5 and making a ton of money. I never shared my feelings or insecurities because I was scared of how I would look to others. I never opened up and that created a lack in my relationships where people were scared to open up to me because they saw me as ‘blunt’. I eventually started to realize how unhappy I truly was. I started reading and journaling and further understanding that, in order to be happy, I needed to be more open and honest with people. I needed to be more compassionate which, in turn, made people feel safe around me. I quit my 9 to 5 in 2002 and started traveling and rock climbing until eventually planting my feet in California in February 2006.

You make it sound very easy. Wasn’t it weird to go from a 9 to 5 to a state of absolute freedom? 
Oh of course, but it was a breath of fresh air. I mean, I was scared to just drop everything but I’m a firm believer that everything will work itself out the way it needs to.

How did you start photographing? 
I got into photography through my dear friend Boz, whom I met while rock climbing in France. He was photographing the crew and I was immediately inspired by everything he was capturing. I bought my first camera in 2006 and started taking photos of everything. Shortly after, I saw Michael Franti and Spearhead live in concert in Canada. I loved the vibe and quickly became friends with the entire band. I asked if I could take photos at some of their shows and so began my photography work around concerts of various bands. Thanks to the opportunity Michael gave me, I have shot countless other bands since.

When did you set up the What I Be – project? 
The project physically started in 2010 when I was talking with a friend about an idea on sharing people’s insecurities without literally showing them, on how I could possibly turn it into an empowering photography project. I decided that night that I wanted to photograph my friend with her insecurity written somewhere on her face or hands. As a way to boldly displaying her greatest insecurity on her skin, combined with a fearless stare into the lens. I wrote ‘thunder thighs’ on Amanda’s hand. Alongside the photograph she came up with the statement, ‘I am not my body image’. The What I Be – project was born.

What where the main reasons to fancy such a project? 
Being able to photograph people and make a living off it was so amazing that I wanted to do something that had more meaning. Something that would touch peoples souls.

I guess you can’t have any judgment when you start a project like this.
I tried to have no judgments towards the people I was meeting. Tried to see no ‘flaws’ because I had made myself aware of the fact that we all struggle, we all have our insecurities.

You called it a social experiment. Can you elaborate? 
The What I Be – project is a social experiment turned into, what is now, a global movement about honesty and empowerment. In today’s society, we are often told to look or act a certain way. If we differ from these ‘standards’, we are often judged, ridiculed, bullied and sometimes even killed over them. I started this project in the hope to open up the lines of communication. To help everyone accept diversity with an open mind and heart.

 

‘I encourage every viewer to look at each image and put themselves in the individual’s shoes. Allowing yourself to feel what they feel.’

Do you have the feeling there are still many taboos? 
There will always be things to find out. There are so many things I don’t even know exist. I learn a lot through the project as well. People teach me so much.

Where does the name ‘What I Be’ came from?
The project was pulled from non other than my friend Michael Franti. I was always inspired by the lyrics of Franti. His depth and meaning behind each song. He is the epitome of a powerful musician, activist and poet. Michael’s song, ‘What I Be’ is basically all about being who you are and being the best you that you can be. I loved the song and decided that the meaning behind  it completely fitted the project.

Who is collaborating on such a project? 
Participants range from high school students and Ivy League masses to some well-known names in the entertainment industry. Subjects are putting their insecurities out in the open, exposing a side of themselves that nobody has seen before. By stating, ‘I am not my_____,’ they are claiming that they do in fact struggle with these issues, but it does not define who they are as a person. It is used to spread awareness on what people go through due to society’s paved roads. These are serious issues that some of us can live with, but most battle on a day-to-day basis. Each person that takes part in the What I Be – Project is extremely courageous. The What I Be experience is cathartic and universally empowering. Each portrait is immortalized for the entire world to see.

What’s the most intriguing story you have heard during this project? 
They’re all intriguing. They all have the same importance to me. I have sat down with each and every person and they trust me with their story. That’s the most intriguing part.

What do you expect your viewers to feel, to see?
I encourage every viewer to look at each image and put themselves in the individual’s shoes. By allowing yourself to feel what they feel, you might realize something you’ve never noticed before. If you don’t understand someone’s message, stay tuned. To eliminate any confusion, each participant will be writing a 500 words or less statement explaining how their insecurity has affected their life. Some of the faces you may recognize, some you may not. Take the time to connect with each one. You may see yourself within one of the photos.

What would you write on your self-portrait? 
You’ll have to wait until the book to see that!

 

www.whatibeproject.com

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Heavy in White

Heavy in White

Heavy in White

Text JF. Pierets    Artwork Lynn Bianchi

 

Lynn Bianchi is a New York City-based fine art photographer and multi-media artist who has shown work in over thirty solo exhibitions and in museums worldwide. Her photographic art has been featured in over forty publications. Bianchi’s Heavy in White series was inspired by body-consciousness, and the desire to create a fantasy world where women could break free of self-criticism. Small and heavy women celebrate nude while eating and dressing, existing in the moment, challenging societal ideals on weight, beauty and sexuality. The Heavy in White women are not trying to impress or perform. They play dress-up and eat with relish, celebrating their sexuality without trying to be something other than what they are.

 

Your series ‘Heavy in White’ is right up our alley regarding diversity and a different view on beauty. How did you come up with the idea?
One time, I went to a Whitney biennial exhibition and I saw lots of tables covered with what looked like garbage. They said it was art. Then I went to MoMA. I saw the Impressionist paintings: Monet, Cézanne,… Coincidentally, tables were involved again: beautiful still-life paintings, gorgeous table settings in the impressionist paintings. I went from garbage to beautiful fruits and flowers. After the Whitney exhibits I was very much impressed by the clash of opposites. I thought to myself: I can do that. But what is it that I Iike? I like white. I also could use tables. So tables led to food, food led to body image. Then I wanted a heavy model. And that’s how it started.

Why did you choose to put them in a neoclassic setting?
I guess I’m a neoclassicist inside. One isn’t always in charge of what comes out of ones mind.

Which artist inspires you?
No artist in particular. I’m inspired by my own life experience and by life itself.

How about the models? Were they as positively body-conscious as you wished them to be?
Not necessarily. Being a woman myself, I know that most of us are not satisfied with our bodies, no matter how close to – according to today’s standards – perfection we are. In any case, the photo sessions took away a great deal of the self-consciousness that my models were feeling towards their bodies. For example; I photographed one woman who was bulimic. After our photo sessions, she was able to overcome her bulimia. The sessions were like facing one’s worst fears. Nobody felt self-conscious because the idea of any specific individual or identity was of so little importance compared to the task at hand. The models did not actually lose their identity, however, but rather their sense of ‘self’ was allowed to submerge into the collective. Each model became an important part of the bigger pictures. The photographs weren’t about one individual but spoke of something deep inside each one of them.

 

 

‘I want people to see the joy of living, in and of itself. I’m showing them one of their fears, for example the fear of being too fat. But there is a sense of commonality in the nudity and once the differences are exposed, they are more beautiful than scary.’

How important is diversity in your work?
I love diversity. It’s never boring. It’s life.

It looks like all those women have a lot of fun. Was it a pleasure to shoot them?
Absolutely! The models weren’t self-conscious. Quite the opposite. They were given one task; to eat. And while doing that, they forgot to be in control. They became a monumental sculpture. An exchange of beauty occurred. It was a harmony of shapes and forms. Then came the acceptance of the differences between all of us. It was the best fun.

Why did you want them to eat?
Because that’s what we do every day; we eat and we suffer, we don’t eat and we suffer. You want to eat but you don’t want it to show. But at the core, it is a pleasure to eat. It is a very social thing, too. People get together to eat and have a good time.

Your pictures are very physical. How do you accomplish that feeling?
I just show what’s in front of me. And again; life is very physical.

What do you want your spectators to see?
I want people to see the joy of living, in and of itself. I’m showing them one of their fears, for example the fear of being too fat. But there is a sense of commonality in the nudity and once the differences are exposed, they are more beautiful than scary.

Are you, yourself, free from self-criticism?
I have to say with laughter: no! Absolutely not!

How do you define beauty?
From inside out. Beauty is something that shines through. Physical beauty is pretty to look at, but it disappears quickly if there is nothing much to support it. Beauty is the joy of living.

 

www.lynnbianchi.com

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