Deep Inside, besides being an exemplary act of merging music and image, is a love lament, a melancholic ballad with a porn background. Whilst inking into the nostalgia of lost love, the torpor of the music (by Benjamin Morando) is also echoing the physical nucleus of love: the primal scene is then the missing one, a darkened painting from the past. Indeed, the sex scenes, which are covered with thick black felt-tip pen lines, are partially kept concealed to the spectator’s curiosity. The artist has therefore produced a palimpsest. Sliding on the surface according to the rhythm of music, the drawing has a double-fiction: ornamental addition and archaic embellishment that are evoking rupestral figures, its action is magical because, just like the apparition of forms would erase others, drawings are conjuring the pain caused by love. By reversing the rule of sexual efficiency of a genre that does not give a damn about psychology, the figures on the celluloid are, in fact, the incarnation of emotion. These bitter touching embroideries, positioned within a physical setting, are raising an essential question: is emotion only an ornament to sex?
Deep inside, 2005
Video, marker on film
Music by Benjamin Morando
Song written by Nicolas Ker and Camille Henrot
Collections : Hara Museum, Tokyo, Caja de Burgos
© ADAGP Camille Henrot
Courtesy the artist and kamel mennour, Paris/London