Edmond Thommen describes himself first, and foremost, as a Photographic Artist, not a digital artist. For him, the art begins with the camera, his photographs. The digital element is simply the palette that allows him to blend and refine his work.
For Edmond, the magic starts with the camera and the human body, usually female, as subject. This is a vital distinction; Edmond’s work uses the human body as the subject, the basis for his work. It is never the object. There is no sense in which the body is objectified, no exploitation. It is the foundation of his art, but not the definition. It is awkward to discuss an artist’s work primarily in terms of what it is not, but when one works with nudes there is a presumption at hand that often labels the work before it has been sighted; thus the need for a disclaimer of sorts. The basis of Edmond’s art may be nudes, but they are not sexualised.
The female body forms the basis of his art works; it may be softened and blended, the lines melding, melting into the layers of the piece until one‘s eyes start to actively search for the lines the mind tells you must be there; or the model’s body may leap from the work like some goddess of old, breaking through time, stone and canvas, demanding one’s attention and admiration; while also seeming to escape the bounds of the piece, of definition, of objectification.
Edmond’s work is ‘layered’ in many senses of the word, the human body is layered between or beneath images both obvious – rock, rubble, architecture, walls, fronds, trees, urban textures and any or all of the above; and detailed, careful compositions that beguile, and draw in both the eye and mind. The works are thus layered both visually, and in the attempt to interpret and define.