BETTINA Rheims - just like has woman

© BETTINA Rheims. Courtesy Gallery Jerome de Noirmont, Paris.

Located which occurred Matignon, the make fleshlight Jerome de Noirmont accomodates until July 15, the last series of BETTINA Rheims, just like has woman.

Ex mannequin, then journalist and now photographer, BETTINA Rheims remains with just like has woman, ann summers flesh light the line of its preceding series, working once again on the naked female one.

Indeed, just like has woman puts in scene 13 women, naked or out of underclothing, lengthened on fabrics with coloured reasons, each cloth corresponding to a woman, the press release of the gallery explains us.

Just like has woman points out the naked ones posing in front of the wallpapers in ann summers flesh light of reasons for its series closed room, but make fleshlight all the models are photographed according to the same angle (top) with same framing (plane American) and same lighting.

These women all, rather young, carry red marks on their body, of the marks of clothing or accessories (mark of slide, of supports throat, of tee-shirt, corset).

In spite of the apparent unit of the series, given by its formal side, each photograph tells its own history because each woman releases a particular emotion, which it transmits either by the glance, or by the position of the body.

Indeed, some adopt a position teaser by offering their body to the eyes of the spectators, others hide the chest ann summers flesh light a movement of decency, some ann summers flesh light in an expansive attitude when others are all in reserve.

With this series, BETTINA Rheims delivers his glance of woman to us on the women of today, an at the same time acid and tender glance.

It is true that these portraits are far from the photography of mode which emphasizes its model, and mystifies the woman at the point to dehumanize it, of the désincarner; here, BETTINA Rheims chose to put in scene very pretty girls but by taking account of the reality and the materiality of their body by representing them with the make-up which runs, the nails endeuillés, of perspiration on badly shaven armpits etc, some are in sweat or have open rednesses on the faces.

The sensuality which releases these photographs, by their point of view in ann summers flesh light and it quasi nudity of the models ann summers flesh light with a kind of repulsion caused by these small details, which become prevalent on pullings of great dimension (155×125 cm).

But what strikes more they are these marks as pyrographed in the flesh of the models.

Between make fleshlight scar and the print of a too small clothing, these marks are like the marks of a make fleshlight femininity and immediately make think of the religious iconography, that BETTINA Rheims already reinterpreted in its preceding series I.N.R.I., where it recalls in photograph the principal scenes of the Bible and the life of the Christ carried out with the collaboration of Serge Bramly.

How not to think lia 19 pussy video the religious reference to the sight of these lying set up, some of these glances like close relations of the extase, of these marks of lia 19 pussy video some regain almost the shape of a crown of spine, without forgetting the number of exposed pullings which is assembled to figure 13 (many people present at the time of Cène)?

Must lia 19 pussy video understand that these women carry the cross of the yokes of their femininity or they precisely open out through them?

I let to ann summers flesh light decide while going to see this female ann summers flesh light series which knew to create its own esthetics between violence and poetry.

Anaïs Montevecchi

 © BETTINA Rheims. Courtesy Gallery Jerome de Noirmont, Paris.

© BETTINA Rheims. Courtesy Gallery Jerome de Noirmont, Paris.

Gallery Jerome de Noirmont