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Le corps écorché, dépecé, recomposé

Abstract : The research of this thesis focuses upon a series of my artwork in which I utilizeadvertisement photographs taken from local supermarket flyers that depict raw meat. I use these to construct female figures. The research responds to the inquiry: Why are we affected by the image of raw meat; and why are we even more so affected when the images of raw meat compose – or fuse with – the female figure? The origin of the effect this image has on the spectator is targeted as being found within our primitive past; stemming from our relationship with the animal flesh, and thus with the animal itself. We illustrate our profound ties to the animal, including surrounding acts which were an integral part of daily lives in primitive societies. We show how the myths, rites, and taboos, associated with the animal/human body are still at work today. The research supports different hypotheses: the edible image, the cannibal’s eye, the “scopique” impulse within an artwork (relative to the eye), and the criminality of the artist, a being’s cruelty, the unveiling of the body, violent images (of women) and their sublimation. We plead the necessity of this never-been-seen-before, polysemous, “true” image of the female figure whose significance spans from our primitive past to contemporary societies; as one of her emancipation.
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Submitted on : Tuesday, October 8, 2019 - 4:24:19 PM
Last modification on : Tuesday, January 19, 2021 - 11:08:44 AM


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  • HAL Id : tel-02308662, version 1



Lisa Salamandra. Le corps écorché, dépecé, recomposé. Art et histoire de l'art. Université Panthéon-Sorbonne - Paris I, 2018. Français. ⟨NNT : 2018PA01H322⟩. ⟨tel-02308662⟩



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