Recopilando información en antiguos moleskines he recordado el trabajo de Aziz y Cucher sobre la piel: "Interiors" (2000) Una serie de fotografías de interiores "forrados" digitalmente con piel humana.
Sobra decir que me viene al pelo para el diálogo que estamos desarrollando en torno a la piel y la pintura. Dejo algunas imágenes y parte del texto de la obra sacado de su web:
Though the epitelial surfaces of these floorscapes have been readically altered by photo manipulation techniques, the scars, acne, eczema, and irregular lines of exposure, old age, and poor hygiene are left – or rather made- visible. Counter to the cover girl priniciple of using an airbrush or Photoshop to conceal blemishes, in Aziz + Cucher’s Interiors the skin’s irregularities are brought into the open and even enhanced. This series of photographs neither promoted the proverbial beauty ‘skin deep’ nor does its skin imagery celebrate choice formal or compositional characteristics. Neither as beauty revealed through a process of concealment, nor as beauty concealed beneath the surface, this is not a work about beauty; rather the skin is here as a stand-in for what lies deeper, namely, the self. This anomalous scenario of applying the human exterior to build interiors and making the skin stand for something that can never be revealed involves a poetics of contradiction, a paradoxical form of metonymy.
Though the epitelial surfaces of these floorscapes have been readically altered by photo manipulation techniques, the scars, acne, eczema, and irregular lines of exposure, old age, and poor hygiene are left – or rather made- visible. Counter to the cover girl priniciple of using an airbrush or Photoshop to conceal blemishes, in Aziz + Cucher’s Interiors the skin’s irregularities are brought into the open and even enhanced. This series of photographs neither promoted the proverbial beauty ‘skin deep’ nor does its skin imagery celebrate choice formal or compositional characteristics. Neither as beauty revealed through a process of concealment, nor as beauty concealed beneath the surface, this is not a work about beauty; rather the skin is here as a stand-in for what lies deeper, namely, the self. This anomalous scenario of applying the human exterior to build interiors and making the skin stand for something that can never be revealed involves a poetics of contradiction, a paradoxical form of metonymy.
Contradition is so much a part of this project. The inside is made of an exterior, the self is made an other, the outside becomes enmeshed within, and the body becomes enmeshed with its surroundings. Like an animal that can camouflage itself in its natural environment, the artists have described the Interiors to be about a subject “incapable of demarcating the boundaries of its own body…[a subject] lost in the immensity that surrounds it”1
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