Each piece came separately wrapped. Thin layers of tissue paper covered the seemingly perverse photographs of a hand, an ass, or a penis. It took me over an hour to carefully remove these disconnected body parts from their place of origin. 
Ironically, these images had no origin, belonged to no one yet everyone. The familiarity of Mes Voeux (My Wishes) from Annette Messager, that consists of around 92 gelatin silver prints on semi-matte paper, executed around the late 80’s early 90’s, is a physically moving piece at a standstill. The placement of all these images act as a resistance to obtaining the piece as a whole, allowing only the eye to involuntarily accumulate. Mes Voeux exists in a quietly saddening dialectic of intimacy between strangers, comfort and distance. The disconnection it speaks about the human anatomy photographically extends beyond the image and into the real. 
Happy Friday. CT

Each piece came separately wrapped. Thin layers of tissue paper covered the seemingly perverse photographs of a hand, an ass, or a penis. It took me over an hour to carefully remove these disconnected body parts from their place of origin. 

Ironically, these images had no origin, belonged to no one yet everyone. The familiarity of Mes Voeux (My Wishes) from Annette Messager, that consists of around 92 gelatin silver prints on semi-matte paper, executed around the late 80’s early 90’s, is a physically moving piece at a standstill. The placement of all these images act as a resistance to obtaining the piece as a whole, allowing only the eye to involuntarily accumulate. Mes Voeux exists in a quietly saddening dialectic of intimacy between strangers, comfort and distance. The disconnection it speaks about the human anatomy photographically extends beyond the image and into the real. 

Happy Friday. CT