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This Page Up: BAUHAUSporn #4: Ornementation géométrique, This Page Middle: Epiphragme,
This Page Down: Le dernier Jeu.
Mehryl: I have a great deal of references
for the painting, in the sculpture,
by way music, cinema, literature,
opera, dance etc… Dance is
very important to me, I studied the
dance and I hesitate to become a
dancer in a company. I love Maguy
Marin, each of the plays causes an
artistic explosion in my guts.
Of course I love Pina Bausch it’s
obvious, but I was born too late to
meet her. The Spanish choreographer
Olga Mesa that I met in Morocco
and with whom I was lucky enough
to think the body, the Moroccan
choreographer Meryem Jazouli
inspires me enormously, with whom
I worked in casablanca during two
years also deserves metion.
There is also Josef Nadj, Steven
Cohen, Raimund Hoghe, Benoît
Lachambre, Sasha Waltz… The movie
that I prefer is “The Rocky Horror
Picture Show”, that was an obvious
fact and a revelation when I saw it
as a child. I read Jean Giono, Jules
Verne, Gilles Deleuze, Charles Baudelaire,
Ionesco, Oscar Wilde and I
listen to some electronic music, new
wave and experimental and I’m into
“Fan death”.
KALTBLUT: What is the over-arching
inspiration for your work?
Mehryl: Life.
KALTBLUT: Your shots look totally
realistic. Does any postproduction
take place in your photography work?
Mehryl: Yes they are realistic, there
is no post-production in my shots.
My work isn’t retouched by computer.
Special effects are realised
during the photography used the
lightings, make-up, false grounds,
prostheses as in the theatre.
I never use postproduction it’s really
important to me that my pictures are
true.
KALTBLUT: Are you working with a
digital or an analog camera?
and why?
Mehryl: I work with a digital camera,
because for make one picture,
sometimes I realise three hundred or
four hundred photographs to obtain
THE photograph which I imagine.
The tool is not important, I’m not a
photographer I’m an artist. My work
isn’t the photography, the photography
is a documentary track.
My work is the construction of the
space, the thought of the body, the
suits, before the photography and
not the photography itself.
KALTBLUT: You’ve worked on a few
collaborations, how was it for you
sharing project space with another
artist? What were you hoping to gain
by collaborating?