![]() The nipples of her exposed bust were concealed by proportional flames, which extended into a flaming, corset-like structure. Her gown also underwent changes: the high collar came to resemble a large and burned neck ruff that extended down in ruffles between her breasts to the hips, where it spread out in an inflamed peplum decorated with sharp spikes and a demonic skull ornament. Her lower arms and hands became blackened, fiery, cracked and claw-like. Her skin became extremely pale, with a few burned areas, while spikes protruded from her shoulders above the darkened armbands. In the instances where the gleam of her eyes are dimmed, they appeared to be filmed over with a reddish-pink sclera. Her forehead was adorned with a chain of pearl-like gems, forming a diadem above her glowing red eyes. Her hair became an array of true, twisted black horns wreathed with flames. A matching gem of a different color was at her throat.Īfter deliberately consuming the pomegranate seeds that are offered to her by Lucifer, Beatrice was transformed fully into a demonic consort for the Devil. Beatrice's hair was twisted up to resemble ornate, hornlike structures and was adorned with a single diamond-shaped gem. The mutton sleeves were capped with paw-like shoulder pauldrons. The dress was open to just beneath her navel, exposing her cleavage, flaring out into a mermaid skirt. Although she no longer possessed a ghostly visage and looked more like her living self, Beatrice wore a monstrous, form-fitting gown that was made of what appeared to be demonic flesh, with spikes protruding around the open front and a high jagged collar. In the second Circle of Hell, when Beatrice is encountered again, her appearance was heavily altered. Her hair had a subtle light to it, and her eyes had a widened appearance. She shone with a slight bluish glow, with venous lines all over her body that generated from the center of her chest. On the church altar in Florence and in a flashback when she was asking Virgil to guide Dante, though still nude her skin appeared to be more radiant and translucent. Once in Hell, Beatrice's spirit took on several changes. Upon death, Beatrice's soul matched her body's appearance, although she was depicted nude with her lower extremities obscured into mist. In Dante's memories, she was seen wearing a scarlet dress, though later in Florence she is seen wearing a simple, golden-yellow dress. The special limited edition of this book includes 50 signed and numbered copies, enriched with an original work created especially for this edition, justified and signed by the artist.Ĭreate an account or log in to read more and see all pictures.In life, Beatrice appeared as a beautiful, fair woman, with golden blond hair and dark eyes. Hardcover (partially woven and printed cover) ![]() Helg’s work is held in numerous museum’s collections: the Bibliothèque nationale de France and the Maison européenne de la photographie, Paris the Musée de l’Elysée, Lausanne the Martin Bodmer Foundation, Cologny (Geneva) the International Center of Photography, New York the Museum of Fine Arts, Houston Los Angeles County Museum of Art and the National Gallery of Canada in Ottawa. Among these are shows at the Palazzo Fortuny in Venice, at the Museum Tinguely in Basel, at the Institut Valencià d’Art Modern (IVAM) in Valencia, at the Museum of Contemporary Photography in Chicago, at the Museum of Photographic Arts in San Diego, at Paris Photo, and at the Rencontres de la Photographie in Arles. More than sixty-five solo exhibitions have been devoted to her oeuvre in Europe, the United States, and Japan. From the onset, Helg developed a personal signature for her uses of space, light, and matter, and it has been given international recognition. After studying the cello, she studied photography in the United States and worked in theExhibitions Department of the International Center of Photography (ICP) in New York. As poetic as they are spiritual, her photographs show strangely beautiful universes of shadow and of light.īéatrice Helg was born in Geneva in 1956. Drawing on a passion for music and a marked sensitivity to notions of space and time, to architecture, and to the staging of plays and operas, the artist creates monumental spaces in which sculpture, painting, installation, and light interact. Helg’s oeuvre has a singular position in the photographic tradition of “constructed images.” Remote from hyperrealist or narrative imagery, her work displays abstract forms and luminous worlds. This exhibition coincides with the publication of a comprehensive monograph devoted to her work ( 5 Continents Editions, Milan). The Galerie Sonia Zannettacci is pleased to present a selection of recent works by Swiss artist Béatrice Helg. ![]()
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