Alix Marie is a French artist who combines photography with sculpture to create works which challenge the relationship between human bodies and the camera. She has now held two solo exhibitions. In Shredded (2019), Alix tackled gender constructs through a focus on bodybuilding imagery and an immersive gym inspired installation. She has contributed to many art collectives and publications, as well as publishing her book, Bleu, in 2017, where she examines the similarities between skin and photographs, both of which are fragile surfaces, vulnerable to misinterpretation.
Her work confronts the glossy and impossible flatness of photography and questions whether it is an accurate enough medium alone to reproduce our bodies. As such, she prints her images onto imperfect surfaces; Wax Photographs (2014) sees Alix use wax paper. In Orlando (2014) she wraps them around bulky sculptures. Both works see Alix reinterpreting photographs as a new skin all of their own. The photographs themselves, often close-ups of skin and underacknowledged human parts, are raw and glaring, in stark contrast with how we often see the body in the mainstream. She critiques the very art she practices, and the journey it must take to truly represent the body in its complete textural and material form.
Alix stands out for creating work which reads as both a confrontation and an invitation. Her work doesn’t just ask questions about the limits of photography but provides answers about how to expand it. It is a delightfully surreal, but necessary, counterpart to a world where photography of the body can be flat and unrecognisable.
By Alice Jones