Ann Massal: The Eye of the Cyclops
Interviews
More about the artist:
Web: annstudios.com
IG: @annstudios
Fb: Ann Massal
Once global managing director for L’Oreal, now a photographer. Ann Massal’s (b. 1977, France) background in the beauty industry has inspired her project ‘The Eye of the Cyclops’ where she uses the medium of photography to showcase her own perspective on this concept. More specifically, she uses the means of destruction – cutting, bleaching, dripping and rotting – to alter her images and confront the standards the industry imposes upon us.
In an interview with Discarded Magazine, we sat together with Massal to discuss her approach to the notion of beauty.
Linda Zhengová:
Could you please explain to our readers your inspiration behind the title of your project?
Ann Massal:
The title is inspired by the distorted perception Cyclops have of the world. Polyphemus, the most famous of them all is the son of Poseidon, and he has one eye in the middle of his forehead. I felt we, human beings, have two eyes, and because of this, we believe we see the world accurately but it’s an illusion…maybe we are ‘shortsighted’ beings that are fooling ourselves constantly by thinking there is such thing as ‘clear’ vision.
[…] we believe we see the world accurately but it’s an illusion…
Linda Zhengová:
Why did you decide to choose a violent and distorting approach to the medium?
Ann Massal:
I would not characterize my approach as being violent. When I photograph a decapitated lamb’s head, I am only showing people what they could see—if they were not blinding themselves constantly to feel more at ease with their decisions and surroundings. In this instance, lots of people eat lamb chops but when they see the lamb’s head on my book cover looking at them they feel “oh, this is a bit too much” but when they were actually eating their lamb chops, they did not feel like asking themselves if there ever was a beating heart, or a head behind the bones they were licking with joy? So, I am only confronting people with the truth, by refusing to show only what is deemed appropriate to show…
As for the distortion part, the same applies. I am using this technique to challenge the viewers—to make them reflect on their ‘standard’ perception.
[…] I am using this technique of distortion to challenge the viewers—to make them reflect on their ‘standard’ perception.
Linda Zhengová:
Besides creating new imagery, you also collected images from pornography magazines. What is the role of archival photographs in this body of work?
Ann Massal:
I love collecting images in general because they make you realize how much our gazes are influenced by the period we live in. What can be censored one day, can be considered totally ok to look at five years later and unfortunately the other way around too (as the society does not always evolve towards more openness or inclusivity). If you look at porn images made ten years ago, most of them were showing very hairy sexes. Nowadays, if you want to become a porn star, you have to shave your pubic hair or go home!
Linda Zhengová:
By applying all the diverse techniques, you also highlight the tactility of the image. Why is this aspect important to you?
Ann Massal:
Sometimes, I get frustrated by the flatness of the medium. I guess I have been conditioned by my previous career. I always tend to want to ‘make up’ or ‘pimp up’ images to make sure they seduce the viewers. I need to catch their attention before making them reflect.
Linda Zhengová:
In 2019, the project was published as a book by Kehrer Verlag. The edit of the publication combines very bright colours together. What was your strategy to incorporate such diverse materials together?
Ann Massal:
I have to say, I owe a lot to my two-years workshop at Atelier Smedsby with Margot Wallard & JH Engström. At first, I was feeling quite insecure about mixing it all, but they pushed me and helped me understand it was all coming from the same place in the end! I also met Joao Linneu at Smedsby’s and he’s the one behind the brilliant book design. So, all in all, it was a matter of life changing encounters!
[…] Sometimes, I get frustrated by the flatness of the medium.
Linda Zhengová:
Do you consider your book as a form of protest?
Ann Massal:
I’d say it’s a pamphlet.
Linda Zhengová:
After completing ‘The Eye of the Cyclops’, what would you say is your definition of beauty? And do you perhaps see a more positive change in the beauty industry in the last three years?
Ann Massal:
For me, nobody has defined beauty better than Plato. Beauty is truth. The beauty industry has certainly evolved in the past three years, but I’m not sure if it has shifted towards more truth. There are still so many topics that remain taboo… When you buy a wine, the older, the better, right? Well, why does this logic not apply to human beings too?
Linda Zhengová:
Since ‘The Eye of the Cyclops’ is finished, what are you working on at the moment?
Ann Massal:
I am working on a new project I am extremely excited about called ‘On Love, Violence and the Lack of It’. It is an attempt at visualising the aftermaths of trauma without too many subtitles. There is too much Manichaeism at the moment on social media: I do not believe that the world we live in is either black or white. You can be a victim but maybe your aggressor was a victim too in the past. I hope this new body of work can speak to the ones who have lost their voices and do not recognize themselves in the ‘finger pointing world’ we live in.
‘The Eye of the Cyclops’ is available as a limited edition of 1000 copies, hand-punched, numbered and blessed by Massal herself here. On the 23rd of April, you can join PH Museum’s International Photobook Masterclass Public Presentation – a talk where Ann Massal is participating among other artists and professionals in the field. You can register for free here.