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Thomas Lammers

Thomas Lammers
Born 1980, , Guatemala.
Lives and works in San Andrés Cholula, Puebla, México.




Skin language or the visual rhetoric of the human body 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 latent. Line, light, and body are in skin language and in Thomas Lammers the common denominator. Elizabeth Castro Regla