Natacha Caruana is no longer an unknown in France. Winner of the BMW Artist in Residence Award in 2014, she has nevertheless not gotten the exposure that she deserves. For fifteen years, the British artist has been fictionally creating scenarios that recount personal relationships, the complexity of positions in a heterosexual couple. With typically British wit, Caruana structures photographic encounters using documentation and staging.

1. From the first series, The Other Woman, we are confronted with the secret lives of married women in extra-conjugal romantic relationships. This series introduced an original tone that subsequently developed with Married Man – less an interrogation of the couple than of the ongoing miracle of how it lasts, its fragility and vulnerability to temptation. All of the series hold something of a perfect ill
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3. ustration of the power of desire, its tiny daily perversions and untold secrets – all of which constitutes the work’s originality, never passing judgement but confronting us with the complexity of the couple as an institution. While the theme may be stinging at times (Curtain of Broken Dreams), the illusion that anything is possible still lingers in spite of everything (At First Sight).

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