I use photography as an analysis (beyond my control).

(By trying to give up my anorexic control, and without my Psychoanalyst RB, my friend.)

To make a photo is to lye on the couch and make free associations.

“The Irreversible Figure A”. copyright Alice ODILON 2009. No clone is free.

At the start, losing control of my thoughts was simply obscene to me, and I always looked for a pure sense of my associations.

Then I lived with, I seized, as so aptly Magritte, an image is a way of describing a thought.

(This inspired thought units visible things so that their mystery is evoked.

The thoughts suggesting the mystery are like the world because the world is mystery.)

The idea pushed by the unconscious links the opposites, giving an alive referent.

(The paradoxical relationship between representation and reality make disappear the resemblance.)

Magritte uses the banality of the common place to the visible world but also to reveal something else.

The picture is a setting in abyss of words and images, without ever finding the right direction.

I think Magritte was constantly trying to find his “I”, denying the real alienation of Disorder, (Chilhood bereaved by the suicide of his mother), and demonstrated the presence of invisible point: the unconscious, the only country of use.

The mystery is enjoyment because it cannot be revealed.

There is a strong parallelism between the mirror stage, Magritte and his research,on one hand, and on the other hand, the Myth of Persée and Medusa, and anorexia,(development gap between perception and reality

by the thinness convulsing the expected image) .

As said Persée beheading the Medusa: ”I was not where you could see me.”

The anorexic girl foils the disposition of the superego with using her irreversible thinness first kept secret and hiden by the coat that conceals the anorexic.

(Maintained in the agreed superego).

We can  say that the superego denies the unconscious.

“The Weapon.” 2001. Copyright Alice ODILON. No clone is free.

Then the sickle of apparent odds arises in front of the other and the anorexic girl kills him…

At the beginning the anorexic girl is initially invisible in her mystery behind her sudden and lethal weapon: the bone sickle.

Her symptom has not been noticed yet by the others.

So the clothes, being metaphorical image, the anorexic girl will consistently hiding in the folds or at least the broad to live in the spaces between body and fabric.

“Mimétique Dentelle”. Copyright Alice ODILON 1977.

Given that the skin is the mirror between the inside and outside, between form and magma body; I might say that the anorexic girl installs a gap between the skin and flesh, and another between the skin and clothing.

The anorexic girl uses this deviant strategy because she does not enter

in a standardized and castrating language.

She wants to keep and give to see what she doesn’t have.

But she goes further because she falls in the spiral of irreversibility namely making her weight lighter each day toward the ultimate infinity.

It is not in a time loop, it is an hypertely vertigo of time.

She happens to herself because she is time-bound body.

(The elusive moment of time, there is one, it is blank.

This is one of that, the irreversible real).

She does not stop the time, she flows into the movement of the seconds and his overactive body to appear just a short time.

The irreversible time makes everything new each time, every unique moment, “there is one,” as said Lacan.

“She will be re-born from herself from her bones and limbs”. Copyright Alice ODILON 2009.

(The word reel in French gives leer to read it backwards, says Lacan.

{Leer in German means empty: the real, time is the thrust of the vacuum, or, as physicists say “the vacuum is a push.”

But this is not the empty hollow space which is usually a surge, that is the void of time which is a thrust.

In the vacuum of space we fall in the time and come up in a dance}.

Guy Massat. Psychoanalyst.

“Inside Out” as Top of Issey Miyake 2001. Copyright Alice ODILON.

{“Gradually everything will start to fail in its place”.} Claude RABANT.

Anorexia Is a dance without a trace.

Alice ODILON November 2009.