In the "The Confessional", the female body's consciousness is questioned when portraying individuals enclosed within the controlled studio environment. As an experiment on young women, the combination of processes asserts the common notion of a confessional space in photographic confinement, along with a questionable capacity to read through gender, as a dressed principle.
This study originates in the inherent visualising perspective the female has of her own presence; recalling representation's conflict with ideals, in the frame of western culture. Whether beauty codes or religious righteousness, the images unconsciously assert the inheritance of the traditional notion of posing and the mystification of the fragmented limb, interrogating eroticism and sacred embodiment.
They aim to grasp the moment where the models, facing their own visual reception, will engrave its expectation and hypothetical reading through their posing, possibly trying to please the viewer with the "right" attitude.
When one faces the translation of its being into image, the self breaks into parts. One ambiguously wills to give its image but won't give it wholly. We may wonder where the principles that restrain us find their roots, and where, on our body, one might be able to read through such prevention.
In "The Confessional", the body is therefore discontinued, reaching towards a new grammar of presence. It might never give any clear response to the dialogue the photographer involves with the models perception. The performing subject is only visible and available in appearance, and thanks to that simulation it is actually gliding away from our reach.
