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Giorgio Palmas


A day with Marie Sophie Wilson-Carr

Marie Sophie ’s house is exactly liker her,

beautiful and unsettling.

Normally, people choose houses without great imagination

but in Marie Sophie  this choice was radical.

A choice of freedom.


In the morning I took a walk with her.

There was a small river. I stopped.

She was wearing a very long shirt, she was barefoot.

She raised her shirt a little and entered the water.

She told me that sometimes she washes herself like this.



During a dinner where she taught me how to make crêpes,

she showed me her collection of Adriano Celentano records.

Marie Sophie  has the gift of simplicity, which is the root of her beauty.

A simplicity sharpened like a knife. It cuts and divides.


Marie Sophie  lives fashion like a punk lives the city: a mix of resigned need

and desire to stay in it to be happy not to be part of it.


Marie Sophie  pulls out the knife and separates fashion’s past and present:

there is no more imagination, no courage now


Photographing Marie Sophie  is something special.

Marie Sophie is not a model.

She’s the one who shapes the space, the relationship

with photography.

Photography itself becomes the model.


When you frame Marie Sophie  in the camera lens

you have this odd sort of paradox: there is never a moment exactly

when to shoot.

The relationship with time jams.


I leave Marie Sophie  with the image

of her in the water, with her dogs on the shore,

watching her.

Protective and slightly restless.

She loves them. She dedicates her life to them.


She dives.


For a moment she’s hidden from view.

Time stands still.

And here is the shot.

Giorgio Palmas

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