At first glance, these images seem to create a map of the female body. It’s a perfect blueprint full of constellations of birthmarks, valleys, and mountains crossing the skin with an air of eroticism. Light and shadow draw honest silhouettes of unpretentious humanity. However, the body’s nature erases any assumed knowledge or dominion over the topography.
Anna Morosini’s portraits maintain an erotic aura by presenting the body as will. But it would be trivial to forget the simplicity of shapes and details that go beyond the nudity; these evoke the most basic element of humanity. The body as an erotic object becomes secondary to the mystery of an undecipherable instant, one that is as random as each pore that makes the human body and behavior.
The figures that pose for Anna rid themselves of everything to submerge themselves in an uncertain space, experiencing the feeling of being suspended, devoid of society’s prejudice gaze and full of the lightness of consciousness. The artist demands trust in order to capture something more than nudity: the subject posing in front of the lens, free of insecurities and social perceptions.
Aside from uncovering details exposed through nudity, Anna’s specialty is the self-portrait. It’s an aesthetic way of discovering herself, exploring her own body, and creating an introspective look at her psyche. It also allows her to delve into her inner monologue in search for other understandings.
It’s a creative statement that emanates from subconscious liberation and leads to an otherness. This transforms kinship towards one’s own body in a subtle way that grows stronger with each picture. Suddenly, the photographer loses herself in a labyrinth of skin.
Each curve is different and reaches a new meaning. Whether it’s the strangeness of a foreign body, the heat of sharp hipbones, or a slight airiness that bends the will to sexual needs, Morosini’s work is a reflection of the human complexity that is visible once all fabric and pretension is thrown out.
Morosini’s photography bares and remains away from the discourse on feminine shapes. Instead, it lets go of the concept of gender and creates a dialogue on the human condition by using the body as a vehicle for thought. Then, it’s used as a space to present fears, pleasure, and the preconceptions of image.
To find more about the photographer and her images, visit Anna Morosini.
Translated by María Suárez