MARIANNE MARIC / Human Design.
Like WILLIAM KLEIN, MARIANNE see the human body it as a wonderful and fascinating architecture worthy of being photographed. These “lamp-girls” were conceived as an illustration of the woman as a thing conveyed by the “entertainment world,” but gradually ascending to a state of consciousness. She “immortalize” this moment when a woman become a simple household appliance.

SM: WHat is your specialist field as an Artist?
Marianne Maric: "One can't see anything"  Daniel Arasse

SM:  In which era do you relate to?
MM: In my head presently, an imaginary village, more precisely a road where all the houses, the walls, with their pastel colours look the same.
In this road, right in the middle of it the COUNTESS DE CASTIGLIONE runs in her all black attire, treading on her majestic dress, she falls, drops and faints.
At that point WEEGEE appears thinking he's just stumbled on to a crime scene followed by GUY BOURDIN, wanting to portray the fallen beauty.
In a neighbouring garden a finger is picked up from the lushious green grass by JEAN JACQUES HENNER who was in the middle of painting the portrait of RUSS MEYER, whilst in full conversation with MARYLIN MANSON.
One terrace down, LYNCH is helping himself to a finger*, but of whisky this time with his friends PETER LINDBERGH and AVEDON, while playing a poker game.
In the garden next-door GUY MADDIN is carving a leg shape sculpture in glass.
RIZZO smiles in his helicopter whilst overflying these scenes, all looking like a mini choreography.
MERCE CUNNINGHAMwhilst taking his dog for a walk meets the CHRIS of the same name, etc...

SM: Why the glowing girls?
MM: "Clara and the twilight" José Carlos Somoza