Céline Bodin, Erodees

There is something astounding about these portraits. And they are portraits. Although their faces are not shown their qualities provoke a painter's brush, working with the easel to create particular colours and shades.

The translated term of Erodees is <b>v. erode, abrade, wear away adj. corroded, eaten away</b>, and this will be pivotal in its reading. The title is often our first clue and such an evocative term can set the tone for what seems to be evocative pictures. As eyelashes glance down and a bottom lip clips the edge of the lens these photographs deceive us in their creation. Still and silent they imply a meditated moment with a brush, something photography has often danced amongst. Shoulders slump from the three characters presented on invisible chairs, each provoking the personality of the next. The intimate moment shared amongst the subject and photographer highlights quiet scenes in the controlled environment. This is a common theme in Céline's work as the space takes on a place of contemplation through the lens.

Abstracts of the environment decorate themselves between the portraits eeking out the quieter glances between the two people in question. They place the surroundings into context. Make us aware of what is around them and what is affecting the intended sensation desired by the photographer. They do their job as full stops for evoking sentences that we cannot read, playing out like a novel of feeling and thought. So evocative they seem we look past their bare nature as the subjects reveal more than we realise at first sight. The subjects are merely acting as emotional statues, placed to suggest feelings. Little do we know or find out about the individuals, as their role ties more to the idea of 'Erodees' than their titles as people.

As there is no sign of eroding physically they sit there as the internal thoughts process and erode the senses we have inside. As the brain keeps moving, glancing and working through thoughts its power reduces and leaves us needing rest. Already in a position of rest, the bodies slump from mental exhaustion or at least they are directed by the photographer to do so.

The conversation between the people on show and the photographer is never discussed. We can only imply that it is directed due to the environment and consistency. The studio environment relies on control and every aspect can be altered and changed, therefore that conversation must lead to directed intent. The environment plays its way through allowing us to understand the role of the studio and how it affects the output.

The anonymity of three minds placed in thought, mentally eroding in the controlled environment, the three heads float in the series. Ginger, blonde and brown reveals details of people we barely know and barely got the chance to know. Their thoughts overwhelmed them, never allowing us to get to know anything of them. Only to register tension and overwhelming emotion, all from the photographer's thought and intention.