lThe series Little Dolls questions the identity of the little girls who are playing with their looks as candidates of beauty contests. Through a pixel surgery as Alain Delorme puts it, he captures and changes the girls' looks and brings a sour criticism of how our society uses innocence.
Nowadays, little girls want to look like their idols: Lorie, Priscilla, Britney Spears... The "Lolita phenomenon" keeps growing, really ingrained in our society. These baby women can be seen everywhere: on TV, in magazines, films, etc...
My series "Little Dolls" questions this phenomenon.
This work has been inspired by a photography of a little girl, taken for an advertising campaign of the multinational company McDonalds, an apostle of the standardization of the way of life. This little blond head for magazines, as sterilized as the cake in front of her, was being offered a Barbie doll in the end of the shooting. This gave me the idea of hybridizing her face with the one of the toy. A body mutation operated by computer tools, in the same artistic line as Aziz and Cucher or Inez Van Lamswerde. Creative works where one plays with pixels as a scientist does with genes, to recreate the Man, the child here, at will.
The process is always the same: a little girl, a cake, a colourful background and the parents. Then the transformation begins, thanks to a software retouching images. I apply a mask on the face of the little girl and remodel the nose, polish the features and modify the carnation, change the colour of the eyes, of the hair and recomb her. The background, position and proportions get standardized. This form of digital plastic surgery erases the real, replaced by completely artificial image. However, despite the lifting and relooking, I wanted to keep a certain idea of childhood. The hair can be somehow tangled, the nails are not well-groomed, the clothes, the accessories remain and help producing an impression of reality which leaves its identity to each image. This operative mode leads to a form of personalities normalization.
The "Little Dolls" series is ambiguous. Neither family photography nor advertising imagery, the representation oscillates between womanhood and childhood, fantasy and reality. The digital technology subtly infiltrates the image, as the aesthetic codes of adults have impregnated the world of childhood. The digital photographic creation that I present here with "Little Dolls" wants before all to mirror our society, reflect the children's dreams and their parents' fantasies.
Alain Delorme lives and works in Paris, France.
Courtesy of the artist
Alain Delorme is represented by Magda Danysz Gallery