In our back gallery, Mel Keiser employs another form of photographic manipulation, a very physical one that references her background as a painter. In her new series, The Écorchés, Keiser aggressively removes ink from her photographs, defacing and obscuring the original image; a self-portrait. Keiser makes direct reference to the process of écorché, the act of flaying a body as a means of torture or scientific study. Her abraded images attempt to reveal what is underneath the surface. An investigation of self and identity, the final pieces are dipped in wax becoming “…embalmed moments of myself past; eroding, but atemporal.”
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