Annabel Aoun Blanco
PORTFOLIO
Error

Desvoilés
Aoun Blanco
Desvoilés Annabel Aoun Blanco Galerie Elizabeth Couturier

Aoun Blanco
Desvoilés Annabel Aoun Blanco Galerie Elizabeth Couturier

Aoun Blanco
Desvoilés Annabel Aoun Blanco Galerie Elizabeth Couturier

Aoun Blanco
Desvoilés Annabel Aoun Blanco Galerie Elizabeth Couturier

La Mandylion
Aoun Blanco
La Mandylion Annabel Aoun Blanco Galerie Elizabeth Couturier

La Mandylion
Aoun Blanco
La Mandylion Annabel Aoun Blanco Galerie Elizabeth Couturier

La Mandylion
Aoun Blanco
La Mandylion Annabel Aoun Blanco Galerie Elizabeth Couturier

Desvoilés II
Aoun Blanco
Desvoilés II Annabel Aoun Blanco Galerie Elizabeth Couturier

Mandylion II
Aoun Blanco
Mandylion II Annabel Aoun Blanco Galerie Elizabeth Couturier

Mandylion II
Aoun Blanco
Mandylion II Annabel Aoun Blanco Galerie Elizabeth Couturier

Algumenes
Aoun Blanco
Algumenes Annabel Aoun Blanco Galerie Elizabeth Couturier

Algumenes
Aoun Blanco
Algumenes Annabel Aoun Blanco Galerie Elizabeth Couturier

Danse Contemporaine II
Aoun Blanco
Danse Contemporaine II Annabel Aoun Blanco Galerie Elizabeth Couturier

Danse Contemporaine II
Aoun Blanco
Danse Contemporaine II Annabel Aoun Blanco Galerie Elizabeth Couturier
BIO
Annabel Aoun Blanco, originating from Lebanon and Venezuela, was born in Paris.
She lives and works in Paris.
ABOUT HER
Whatever the materials she uses (opaque liquid, steam on glass, air bubbles in water, solidified matter...) for the photographic devices she puts in place, she contrives to prevent the human models from controlling their images.
The requirements proper to the materials and the immersive processes remove the possibility for them to picture themselves the way they would like to be represented or the way they think they will look like.
Of course the processes participate in the aesthetic construction but they also psychologically condition the models during the shooting. To get that result, she uses materials which act according to a double dynamic.
For the "beyond" of the beings to appear, in that world real and imaginary at the same time where both life and something worrying are revealed, it seemed to her she could not use the classic satisfaction relationship that a model and a photographer usually develop. The narcissism inherent to our condition feeds on appearences. Submerging the bodies and faces, fragmenting them and wrapping them paradoxically enables her to dodge those appearences, to make her regress or on the contrary to move on until she meets the tipping point unknown to both herself and the models.