Two men; Philippe Chancel and Henri Michaux
French photographer Philippe Chancel has chivilerously opened his doors for all to see. In a series titled Sex Release, we are shown the face, the body and the interior of what may inspire him. Another photograph reveals she is reading french novel Poteaux D’Angle. A book presumably about an angelic obelisk? As the photograph shows, french literature has provoked her to reveal herself to him and his film and in turn, the world. And we are left with a long and lean beauty first encompassed by her consumptions and then an offering to the eye of the lens. Offering a symbolically tempting green, not a playful heart shaped red, a figuratively child bearing pear, nor a presumably threatening yellow. Yet, Chancel shows us his series in a dyptic. Two squares. Two eyes. And she is seen with one. Or, his eyes capture her eye as one. And what color are they? Her stomach is shown flat and a protective hand rests on either simpley her physique or her gazelle like and symmetrical genes. But nonetheless, we have knowledge now of another novel to promote and entice as a means of possible literary Rohypnol. Keeping reading alive and well, passion afloat, seemingly weightless in the air and Philippe photographing, inspired and inspiring, and in turn, the ego never dies. Merci Philippe and even more so to your presumably agreeable and confident companion. But perhaps even more credit is due to Henri Michaux, French poet, painter and journalist, who’s own affairs helped inspire such a picture story. And to the Orient, where Michaux’s first travels had so inspired him to publish his first book titled a self deprecating A Barbarian in Asia. Michaux’s precursory works are classified as Surrealistic while more recent works completed by Philippe include futuristic installation.