[Summer 2002]
Evergon, from the series Margaret and I: Margaret Sitting, 229 x 122 cm, épreuves argentiques, 2001. © Evergon
Evergon, from the series Margaret and I: Margaret Standing (Front), 229 x 122 cm, épreuves argentiques, 2001. © Evergon
Evergon, from the series Margaret and I: Margaret Holding One Breast, 229 x 122 cm, épreuves argentiques, 2001. © Evergon
Evergon, from the series Margaret and I: Margaret and Jessie (Florida), 229 x 122 cm, épreuves argentiques, 2001. © Evergon
Evergon, from the series Margaret and I: Margaret Sitting with a Fig, 229 x 122 cm, épreuves argentiques, 2001. © Evergon
Evergon, from the series Margaret and I: The Maid and the Black Cat Are Dead (Margaret), 140 x 168 cm, épreuves argentiques, 2001. © Evergon
Evergon, from the series Margaret and I: The Maid and the Black Cat Are Dead (Evergon), 140 x 168 cm, épreuves argentiques, 2001. © Evergon
Evergon, from the series Margaret and I: Ramba Mama III, épreuve argentique virage au sélénium, 127 x 104 cm, 1992. © Evergon
Abstract
The tradition of representing young women to emphasize the ephemeral nature of beauty is very old, as is that of showing older, physically worn women to encourage reflection on time’s work. Beauty tends to be idealized and eternal, while age takes the features of a particular body. Photography, condemned to uniqueness, though it sometimes achieves archetype, shows us old bodies only through “portraits,” always returning to the unique and the intimate. Evergon shows viewers, simply and respectfully, the nude body of his aged mother – evidence of a situation that existed between Margaret Lunt and her son. Then Evergon poses, like his mother, à la Olympia, placing the pair as an Œdipal couple.