Today, it seems important to highlight the rigorous interconnectedness of these series and the logical progression of their conception: from the early *Nus froissés* (Crumpled Nudes), those of *La Mère* (The Mother) and *La Chambre close* (The Closed Room), *Le Corps à corps* and *La Mort* with *Noir Limite*, *Catherine*, and finally *Les Ventres*, which brings the body of work full circle by returning to the archetypal figure of the generic mother. Each series, while highly coherent, presents a unique formal approach, tailored to the reflections and questions that fueled its creation.
The body—only the body in all its states, without preconceptions, without pathos, in all its physical presence in the world. The reception of these images has not always been easy; they have provoked a great deal of misunderstanding, and even censorship.
