Thomas Lammers

Thomas Lammers
Born 1980 BirthGuatemala.
Lives and works in HomeSan Andrés Cholula, Puebla, México.

Skin language or the visual rhetoric of the human

Plastic work by Thomas Lammers

The photographic series by Thomas Lammers, entitled skin language, is
circumscribed in the field of what could be identified as the visual
rhetoric of the human body. It is possible to find in each one of the
pieces that constitute it, a certain formal analogy with the previous
proposal made by Peter Greenaway in his film from 1996, The pillow book,
because in both of them the skin becomes a carrier of the message: it is
the canvas for the lines of one, and it is the page for the characters
of the other.
In skin language, T. Lammers plays with the dissolution of the identity
even if it is the dermis, with its morphologic and anatomic
peculiarities, the one that significantly defines the uniqueness of the
individual. In an act of symbolic skinning, T. Lammers transforms the
skin, by a digital hardening, into a flexible membrane which is capable
of containing the graphics that in a playful trance, he has shaped in
his model’s body.
Due to this and bringing up that the ancient Muslim forbiddance of
divinity, man, and nature has lead us to the development of calligraphy
and geometry as unique and exalted mechanisms of aesthetic expression.
The work by T. Lammers can be described as a figurative redundancy
because it offers a dichotomy of matter and meaning, being the skin by
itself a highly descriptive support while the wavy and intersecting
lines that furrow it, are transformed into the arabesque abstraction
that is complemented and reinforced with the speculated reflection, the
modular division, the repetition of motives, and the distortion of the
image. It is the Non-representable, molded in his creation, not to his
image, and without resemblance, but as an interrelation and complement,
as a fusion.
T. Lammers, in skin language, continues, in the same manner, with his
process of experimentation with different pictorial and graphic
substrata as well as with the eroticized handling of its contents. In
this series, the author presents, in simultaneous manner, the gender
deconstruction by shading and subordinating the primary referents of the
woman, and the re-elaboration of the femininity by genitalizing the
composition, arising an omnipresent sexuality, if not evident, always
Line, light, and body are in skin language and in Thomas Lammers the
common denominator.

Elizabeth Castro Regla