![]() ![]() I saw them slip along the terrace, careful not to make a noise, laughing silently, then the woman hoisted herself up a little on the railing, the rounded iron of the rail pressing into her thighs, her dress pulled open a bit, they’d stopped laughing, a gravity, something had collapsed between them, my father turned his back to me but I could tell that something had changed, the woman stopped smiling, her face had become thick, her gaze elusive, her mouth seemed enormous and malformed to me, he was still photographing, the dress fell, he kept advancing and she wrapped her legs around his lower back, took the camera from his hand, quickly wound it and, her arms around my father’s neck, body clinging to him, she aimed over his shoulder as if she were photographing the empty terrace behind him. In Exposition, she recounts the transformation in one long sentence, with commas, like little wounds, splicing it into filmic montage: ![]() One afternoon, Léger hid in the hedge that separated the two yards and watched a photography session between them turn into sexual foreplay. ![]() When Nathalie Léger was around nine years old, her father’s mistress moved into the house next door. Virginia Oldoïni, Countess of Castiglione, 1895 photograph by Pierre-Louis Pierson Howard Gilman Foundation/Metropolitan Museum of Art ![]()
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