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AFFINITY OF CONTOURS    -    Photographed by Martin Billings

There’s no mystery in the photographing of nudes and architecture; nothing odd or inaccessible or elitist with observing nakedness amongst, in this case, a lofty glass-walled space with city vistas into the distance.

I imagine never boring observers of my photographs, yet this can lead to a confused idea that the instant physical gratification may come by viewing of unrestrained feminine nakedness. Illusory photographs as with all art, is subjective and pictorial perception constitutes an artistic experience.

A minimalist expression pervades my ‘Affinity of Contours’ portfolio. The photographs are inclined to be more voyeuristic, due in part to glass expanses that invite inward-looking eyes, but which may also make a spectator feel like an intruder. For all our modern freer attitudes towards sex and sexuality naked flesh still catches our eye and draws us in. The nude today has been demystified, we know what is underneath the clothes now, but we still look.

Precociousness lies at the heart of my current work. I suspect it will be judged more kindly by posterity than by art critics. Its originality lies not so much in its elements but in their juxtaposition. Hoary pastiche-stripper, faux-Newton and blatant Eisenstaedt parody take on a new life sandwiched between glass panes and careering views of Thames and City which form both frame and critique of the plunder. I like to think the three women are in transition, each one experiencing eroticism and incontestable beauty, a combined supremacy.


Martin Billings   -   February 2011


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