I have been following the work of the Artist photographer Eve Morcrette for ten years. I have seen it evolve in a favorable way, always with a common aesthetic reflection on the photographic medium and an evolution towards a plastic vocabulary more and more marked over time. This corresponds moreover to a personal evolution of Morcrette, who for several years, while continuing to exercise her activity, draws and paints. These two practices have visibly altered her perception of her own work, revitalizing it by giving it new depth through completely unusual proposals. I thus could see, to my great surprise, photographs gradually transforming into living pictures, as if freed from the constraints of framing.
This is the case in the series with the title sounding like an ambitious Manifesto: The Beauty of ugliness. However, we are not invited here to an aesthetic debate. Indeed, Morcrette prefers to invite us by his proposal to a very particular Retinian experience: to overcome the stupor of the Strange and the amazement of the Dread to find harmony in the gallery of characters who populate the “animated paintings” of this same series.
Thus, a whole Theory of grimacing individuals for the most part, naked, of a sometimes non-normalized nudity and from which eroticism is totally absent, evolves before our eyes in a state close to collective trance. Various contortions, acrobatic postures, jousting … It is a silent and singular Ballet – curiously not devoid of elegance – which takes place before our eyes, where the bodies create by the cutting of their movements a particular choreography strangely close to Buto Japanese. (…)
Yanitza Djuric. Janvier 2020
The full text is in the French version of The Eye of Photography
