Morgane Le Ferec
BOUEUSES
14.MEI.2025
Muddy
BOUEUSES
14.MEI.2025
Muddy
Touching with the eyes, first of all. Volumes of colour, pencilled or cartoonish, openings on the page that speak of its opacity-absent throats. Mouths embracing various bodies with their tongues, strong or uncertain lips, in visual explorations of organic, soft or abrasive sensations. Touching with the eyes awakens pleasures through anticipation, before the end, those of a desire never fully relieved by sensory responses. With the eyes, it’s the first experience of tension, of the uncertainty of the game itself—already dependent on a possible liberation, more convincing than any victory. The tension accumulates, romantically and organically, from desire. Cruel. The uncertainty of a possible (re)solution sustains a bittersweet mix of hopes and anxieties: are these the mouths that invite? They speak without saying a word. Mouths that snatch, gobble, lick and enjoy. Active mouths, passive mouths, mouths that twist, drool and drip, a viscous, visceral grammar traced out by Morgane. Without worrying about their presupposed expectations, these orifices with their sinusoidal lines unfold sensual explorations of fertile and disquieting fluids, in a broad landscape of touch.
Receiving with the skin, too.
The effleurage, barely visible, moves across the surface without leaving a trace, without pressure, in the very doubt that a contact has happened, as if touched by a shadow. Effleuré is tactile gymnastics that leave no space for the imprint of the ghostly other. A gesture so light yet so in control: no more weight, a weight of nothing that distributes its effects far beyond the surface in contact. What can you touch with such lightness?
Receiving with the skin, too.
The effleurage, barely visible, moves across the surface without leaving a trace, without pressure, in the very doubt that a contact has happened, as if touched by a shadow. Effleuré is tactile gymnastics that leave no space for the imprint of the ghostly other. A gesture so light yet so in control: no more weight, a weight of nothing that distributes its effects far beyond the surface in contact. What can you touch with such lightness?
and spanking.
From these drawn mouths, Morgane illustrates organic seams,
open and sexual orifices, just like flowers pretending to be nothing more than inventive reproductive systems. By exploring this narrative, sensual and erotic vocabulary, these lines tend to explore contact, with the organ that touches the world around it with the greatest finesse: the mouth.
In this cavity of oralities, the tongue is coiled in the softness of its cheeks, contaminated by the virus of language that makes it dance. The teeth, a small boundary that incorrectly distinguishes between skin and flesh, can restrict the penetration of foreign bodies, whether intruders or guests, by activating its jaw-guillotine. Saliva, with its microbiotic complexity (10 to 1,000 million germs per millilitre explain why, during an amorous kiss, no less than 80 million bacteria are exchanged in ten seconds or so by the mixing of saliva), is the first social lubricant for food, contamination and communication. This advanced technology, the tongue, wakes up to say what is strange to it, what binds me to my thoughts or lets others hear them. It rests in the roof of my mouth, and I barely notice the taste that is mine, yet on my lips it is as incomparably unique as my singular existence.
them most intensely, a readable surface of incredible delicacy. And it is only by kissing that I can feel, that I can taste, the taste of the strange, of the outside, of the other—something that language allows me to glimpse in another, perhaps more practical way.
Their illustrations deliver an emotional reading of erotic-cringe enigmas. The secrets fed by these mute mouths, fixed on paper, are immobile sensualities. The drawing cancels out the fluidity of movement, usually the guarantor of impermanent sexiness.
These mouths, devices of language without words, underline the constraint of time to discover the message that silence conceals: desire feeds on this absence, in an unchanging intellectual striptease riddled with ambiguity. They leave open the possible crises and caprices of social communication, because even beyond silence, it remains impossible to draw a definitive line between what statements semantically presuppose and what the people who make them pragmatically do-all problems are problems of communication. The condition for the bliss of language and communication —of consent!— is understanding, the coordination of meaning that allows us to take it for granted that what we want to get across will get across, that the message will be correctly delivered, as intuitively as we expect the sun to rise tomorrow. This ideal of cohesion brings with it its own vulnerability: the vulnerability of being able to express oneself to the world as a person.
As a person like everyone else.
—
a§s
Morgane Le Ferec, framed drawings variable dimensions, 2025a§s
Morgane would like to thank
Laurianne Bixhain, Juliette Delarue, Leo Luccioni, Benjamin Pruvost, and Sophie Vendreys.
ANALOG PHOTOS Raphaëlle Serres
Impressions of the exhibition text by Eléonore Bonello The bar was staffed by Eléonore and Raphaëlle Flowers were provided by Eléonore and Raphaëlle We had the pleasure of welcoming Juliette Delarue's edible tattoo salon @juliettedelstreet
Edible tattoos on the evening of the event
by Juliette Delarue @juliettedelstreet
by Juliette Delarue @juliettedelstreet