Chacun de mes visages / Each of my Faces
Read the text | Diaporama | Back to gallery
Set of 91 photographs to date
Sizes and process:
H 6.5 X L 5.1 inches, Color Lambda print or Giclée process pasted with archival process on PVC.
Limited edition of 5.
Price for 3 photographs of your choice: € 1,250 incl. More information.
Prestige series: H 12 X L 8 inches, giclee print on archival paper, pasted on aluminum.
Limited edition of 3.
Price: € 1,500 incl. More information.
“Thus, where Alain would rekindle the last flames of humanism by adding, "There must be order inside of me: all of these chained monsters must make up one man, and not a lunatic with a hundred faces," Loup adopts the opposite point of view: taking this internal disorder for what it is, determining who this madman (or, in this instance, madwoman) with a hundred faces really is. The multiple of the face, precisely, Chacun de mes visages (Each of my faces, 1992), an open-ended series of photographs, has been programmed from the very first image to finish upon the artist's death. Here, the artist as a budding young woman, there, in an antique pose, or, in an extreme close-up, crying. Further on, as a glamour girl, or captured by the lens in a pose that goes back to the repertory of Christian saints. "Each of my faces is an autobiographical study . . . , a critical study of identity through photography and its different genres," explains Loup. Presented in the form of a frieze, refusing any chronological order, such a body of work establishes identity as much as it disperses it. A representation that is both given and taken away, making the subject anonymous yet impossible to miss.
This combination of giving and taking away that has emerged with the decline of humanism is not unrelated to a constant of contemporary creation--the impossibility of total access to the figure. This impossibility, which has sometimes been overused (the disguises of Cindy Sherman's Still Lives series of the 1980s), may simply be developed through simple recourse to the image.” Paul Ardenne, in Mireille Loup, catalogue, Editions Les filles du calvaire, Paris 1998.
Invited by France Culture Radio on the 18th of July 2012, at Pas la peine de crier, a broadcast by Marie Richeux , Mireille Loup speaks about her series "Each of my faces" and "53.77" shown during the Rencontres d'Arles 2012. Her interview starts after the writer Gilbert Léautier, 32 minutes into the broadcast.
To listen Mireille Loup on France Culture, Pas la peine de crier, by Marie Richeux.
You can read too this article Mireille Loup, Autoportrait, autofiction : le je(u) et le masque, by Xavier Lambert (Teacher at University of Toulouse) [in French only]
L'oeuvre de Mireille Loup, Chacun de mes visages est présentée par l’artiste comme « une recherche autobiographique constituée par des portraits, mis en scène ou non, et des autoportraits. Il est question d'une recherche critique de son identité à travers la photographie et ses différents genres.» Cet ensemble de portraits pose les bases d'une recherche exploratoire où l'artiste s'interroge et se met en question. [...] Read more
Chacun de mes visages / Each of my Faces
Read the text | Back to gallery
Set of 91 photographs to date
Sizes and process:
H 6.5 X L 5.1 inches, Color Lambda print or Giclée process pasted with archival process on PVC.
Limited edition of 5.
Price for 3 photographs of your choice: € 1,250 incl. More information.
Prestige series: H 12 X L 8 inches, giclee print on archival paper, pasted on aluminum.
Limited edition of 3.
Price: € 1,500 incl. More information.
“Thus, where Alain would rekindle the last flames of humanism by adding, "There must be order inside of me: all of these chained monsters must make up one man, and not a lunatic with a hundred faces," Loup adopts the opposite point of view: taking this internal disorder for what it is, determining who this madman (or, in this instance, madwoman) with a hundred faces really is. The multiple of the face, precisely, Chacun de mes visages (Each of my faces, 1992), an open-ended series of photographs, has been programmed from the very first image to finish upon the artist's death. Here, the artist as a budding young woman, there, in an antique pose, or, in an extreme close-up, crying. Further on, as a glamour girl, or captured by the lens in a pose that goes back to the repertory of Christian saints. "Each of my faces is an autobiographical study . . . , a critical study of identity through photography and its different genres," explains Loup. Presented in the form of a frieze, refusing any chronological order, such a body of work establishes identity as much as it disperses it. A representation that is both given and taken away, making the subject anonymous yet impossible to miss.
This combination of giving and taking away that has emerged with the decline of humanism is not unrelated to a constant of contemporary creation--the impossibility of total access to the figure. This impossibility, which has sometimes been overused (the disguises of Cindy Sherman's Still Lives series of the 1980s), may simply be developed through simple recourse to the image.” Paul Ardenne, in Mireille Loup, catalogue, Editions Les filles du calvaire, Paris 1998.
Invited by France Culture Radio on the 18th of July 2012, at Pas la peine de crier, a broadcast by Marie Richeux , Mireille Loup speaks about her series "Each of my faces" and "53.77" shown during the Rencontres d'Arles 2012. Her interview starts after the writer Gilbert Léautier, 32 minutes into the broadcast.
To listen Mireille Loup on France Culture, Pas la peine de crier, by Marie Richeux.
You can read too this article Mireille Loup, Autoportrait, autofiction : le je(u) et le masque, by Xavier Lambert (Teacher at University of Toulouse) [in French only]
L'oeuvre de Mireille Loup, Chacun de mes visages est présentée par l’artiste comme « une recherche autobiographique constituée par des portraits, mis en scène ou non, et des autoportraits. Il est question d'une recherche critique de son identité à travers la photographie et ses différents genres.» Cet ensemble de portraits pose les bases d'une recherche exploratoire où l'artiste s'interroge et se met en question. [...] Read more
