My body moves through spaces, not private or public, but flushed with surges of signs emptied out in their infinite circulation: excessive, obscene, like pornographic close-ups.

It is the obscenity of what no longer is obscure but inevitably visible. An end of interiority, the overexposure and transparence of the world traverses my body without obstacle. I can no longer produce the limits of my own being, can no longer play or stage myself.

(after Jean Baudrillard, The Ecstasy of Communication)


"Amazing girls / It’s complicated" imagines a contemporary topography of private and public spaces staged as spheres that, being permeated by pervasive acts of communication, have collapsed into perpetual visibility.

Suggesting intimacy and domesticity, unsettled by the seemingly obscene, strange, ugly or even threatening, the works gathered disseminate a feeling of unease in the face of boundless externalization and self-design. In front of the gaze of the eternally present other, they invite into an almost theatrical performance: of fractions in the psychology and physiognomy of the body as it has become the bearer of all meaning, where nothing is hidden and the universe of signs surpasses it without limits.

Coquetting and seducing with their excessive beauty, materiality and semantics, the works remind of the body as performing and coming into existence in a flux of desire and power, increasingly caught up in uncertainty, anxiety, and pleasure alike. "Amazing girls / It’s complicated" proposes the relationship of the body to society as an erotic one, where desire however, captured in infinite production and consumption cycles, is both instantly gratified and eternally unfulfilled.