Executed in 1984. Marking his return to the medium of photography after experimenting in other media, including collage, decoupage, drawing and object-making, Märien's late images are distinguished by simple compositions that focus on the mise-en-scène of the subject. In this work, Märien fragments the female form into separate niches that outline specific parts of the body in the salon-style arrangement seen in museums, a reference implied in the title of the work. This voyeuristic reframing and dismemberment of the body, now seen as disparate parts (or objects), subverts and upsets traditional representations of the female nude.

The present work touches on René Magritte’s L’Évidence éternelle (The Eternally Obvious) Paris, 1930 where Magritte has created an arrangement of cropped, close-up framed views of female nudes evocative of photography.