The French photographer Marwane Pallas’ painterly photographs contain within their borders an uncomfortable blend of allure and violence. His work centers around the body, honing in on its urges and most private yearnings. At times, the body itself is seen in profound sharpness, crystal clear, while it also sometimes bleeds sensual color, as if painted on a canvas. Pallas’ highly stylized images read more like murals than photographs, deliberately and seductively drawing us into a fictitious and allegorical narrative.
With his series What I Eat, the artist presents human appetite as an visceral marker of identity; a housewife is forced to eat her clothes iron, and a (possibly transgender) woman, having undergone a breast augmentation, munches on a plastic barbie doll, symbolic of the idealized female form. A cancer patient dips his cigarettes in ketchup, and a priest hesitates for just a moment before devouring a wooden crucifix.
In This Is My Body, religious allegorical icons stand in for an overwhelming eroticism. Eve in the Making presents the artist as still and pale as marble, wounded like Jesus Christ, engaging in an act of intimacy with a translucent head, whom we might imagine to stand in for God. In another self-portrait, a nose bleed causes blood, seen as wine like the blood of Christ, to drip over his parted lips into a glass below. A candle drips onto a pair of praying hands; on closer inspection, we see that the waxy light lays in place of a man’s erect phallus. Like Eve, the artist into apple that ultimately brings death, containing within it an ominous skull.
In Sur/Face, this sensualized physical body undergoes a metamorphosis, veering into a metaphysical and spiritual realm. Enchanted forests cover the artist’s head, and mossy roots stand in for veins. The flesh cracks open to reveal a layer of fresh new skin.