When you take the image of the human body and divide it into its constituent parts, then take some of these portions and transform them into autonomous images, you create a rhetorical figure called synecdoche, to use a term belonging to another field, “the part for the whole”. These parts, whether static or in motion, also elliptically hint at what is not shown in the photograph, at what remains outside the frame, thus acquiring an evocative power different from that of a complete image.
At the same time, precisely because they are made up of elements arbitrarily detached from a context, these photographs take on an almost artificial appearance, resembling still lifes or photos of objects or architecture.
In the series I present below, I wanted to depict some of the constituent elements of the human figure, such as legs and feet, from this perspective.
Without resorting to the fetishism of bare or shod feet, or to learned dissertations on the nature of legs, which, by giving us an upright position and freeing our hands and brains, are the primary architects of our humanity, I enjoyed depicting their sinuous forms, their articulation at rest or in motion, and their starting point from that other unique characteristic of all humanity, which is to have buttocks.
