In Evelyn Bencicova’s series ‘Ecce Homo,’ many faceless nude bodies appear in strange positions. Some are lying on shelves or tables, while others are sprawled in masses on the floor.
Ecce Homo is Latin for ‘behold the man,’ a common artistic motif with Biblical origins that has been expanded to include depictions of violence and war. Although Evelyn Bencicova’s scenes are not necessarily violent, they’re still wrapped in mystery, leaving the viewer in the dark about what has actually happened to these contorted bodies. (Ecce Homo by Evelyn Bencicova.)
Photography for Evelyn Bencicova isn’t just the image of a person or an object, but a thought process that manifests itself as the content of the image. Therefore, a picture for her is a moment in a longer and multi-layered creative process, in which she is, effectively, a creator of sculptural arrays and directed scenes, rather than simply a photographer. Evelyn admits that is not interested all that much in technical aspects of photography.
Through the treatment of the body as a large and flexible sculptural or choreographic device (with extensive use of props and different materials, such as molten wax, extravagant costumes, or even dead animals), Bencicova creates sharp visual gestures.
They do not represent something profound, but rather create a relationship between the people, the bodies, the environment, an audience and herself, the artist.
The models in the photographs are not explicitly sexual, rather genderless, sexless, faces hidden and bodies transformed into abstract shapes, creating intense images “built in” into a variety of spaces.
Locations for her photo-shoots aren’t chosen arbitrarily or by chance. They are cold, bare, sterile. These are places where something happened, but what?
Evelyn admits that her work is not about WHO is in the picture but, rather, WHAT is happening in the picture. Her models are often her friends, those who understand the message of the pictures and who are able to pose for several hours.
Well, I liked it, sort of.