In a photo historical context, it is natural to place Kertész’s nudes in line with later experiments by Brassaï, Hans Bellmer and Paul Strand, wherein different forms of manipulation created distortions of forms.[…]
Kertész’s pictures can also be read as a comment on the space women occupy; a space which is completely destabilised due to the use of mirrors. Usually, we have no problem with identifying the physical frame around the body, but here it is not the body that is photographed, but the reflection of it in its physical surroundings. In that sense, one may argue that the pictures are not at all about the body, but about the disintegration of a spatial perception to which one has become accustomed. In that sense the pictures can be argued to have developed from the Cubists’ deconstructed and fragmented spaces. The ruling disorder becomes an attack on the endeavour to instil the human body in a lucid space, which provides it with a defined place. The body is, in Kertész’s photographs, transformed into an object we no longer have a firm grasp of; the body avoids us as a slippery bar of soap. Consequently, it escapes the kingdom of the gaze.
Pg. 9, ANDRÉ KERTÉSZ • DISTORTIONS
What an excellent interpretation of Andre Kertesz‘s innovative, seminal Distortion series. Women – and men, for that matter – certainly live in an inherently destabilized space. Consumerist-driven irrational social and gender constructs create this unhealthy, upside-down environment that has devastating effects on people.
In these works, the image is not about the subject itself – instead the focus is placed on the lens through which the subject is seen. This distorted manifestation becomes how the subject – in this case, ‘woman’ – is perceived, questioning the fragmentation that has occurred between a more authentic ‘reality’ and this final perception (distortion). The series points out how ‘true’ – real – these perceptions seen. Our fragmented, distorted view of women (‘woman’ as subject) seems organic when it is indeed not. Rather it is the result of myriad fragmented pieces haphazardly – yet meticulously and purposely – reconstructed by consumerist social constructs.
I highly recommend reading the write-up in its entirety if you are interested in learning more about Kertesz’s fantastic work in general or his Distortion series specifically.