In 1964 the French photographer Jean Loup Sieff photographed a woman, nude, standing before an empty wall: Hommage à Seurat.
What about these homages? An alibi? A quote? A reproduction? An Inspiration?
In 1988 Seurat painted ‘the same woman’, also then seen at a wide-angle: the splayed out feet on the inclined floor, the fragile body with the thin arms, hanging down, ending in the loosely folded hands in front of her invisible womb.
The postcard of the picture of Jean Loup Sieff stood for years in a corner of my bookcase becoming a well-known image.
Who is this mysterious unknown figure who stands guilelessly in the confined space and who always seems to be looking at me?
Why the astonishment in her face and her girlish – boyish body which calls me to wander regularly with my eyes from above, downwards and back again?
Is this my own innocence, projected in her demanding appearance?
The expression on her face doesn’t tell me anything, just the intensity and the longing of her dark looks connects our viewing until the darkness of the night.
I don’t know anything about her and she has no meaning for me. Her naked appearance is meant for the eye. Her waiting and quiet standing pose almost asks the question: is it you? Avoiding any clichés makes this homage to Seurat both personal and erotic.
Unaffectedly physical; skin and depth; open and closed; visible and hidden; that is the mystery of her being. This makes the fixed image immortal against the transient glance of the viewer. Hoping to win over through this ecstasy something from eternity.