A lot of her self-portraits, the first of which date from the end of the 1970s, belong to the vocabulary of the paid-for erotic frisson, something of the peep show, something of the Reeperbahn. There is nothing obscene about her photographs, only a cheap promise in the form of almost always black and white photography, sometimes with added colour (for example a small heart on a pair of briefs) and framed, indeed outright flanked, by sculptural elements referring to the "red light districts" aesthetic of major cities or the "love motels" on their outskirts. The artist reproduces the stereotypes produced by men making woman an object of desire.
*1952, lives and works in Hasselt (Belgium)
LILIANE VERTESSEN, SANS TITRE (UNTITLED), 1980, COURTESY OF GALERIE COPPENS, BRUXELLES