On Friday 21 August, just after 10 am, the gallery phone rang. Apart from communications with our regular exhibitors, unsolicited calls from artists are rare.

“Hello, I’m Enora Jacquart. I’m a photographer and illustrator; I combine digital photography with computer graphics. I’ve developed a very personal visual narrative, but I’ve been turned down everywhere. Many galleries are wary of knee-jerk reactions and negative feedback. Would you be willing to take a look at my portfolio?”

As soon as the PDF arrived, silence fell over the gallery. Eyes wide open, everyone held their breath for a few moments, overwhelmed by the power of the images, before giving that obvious reply over the phone:

“Your approach is courageous; it will spark debate and provoke strong reactions. And that is precisely why we agree.”

Much like The Raft of the Medusa, Enora Jacquart’s work captivates with its striking contrast between the cinematic perfection of the images and the brutality of the subjects depicted.

By openly drawing on the figure of Artemisia Gentileschi, Enora does not seek to seduce. She explores the mechanics of the male gaze and the trap of objectification: how women, shaped in turn as muses and then as prey, end up subjected to a devastating form of self-surveillance. But whilst many stop at the trauma, Enora depicts the breaking point, symbolic revenge and the reclaiming of one’s self.

In contrast to the cautious approach of traditional commercial venues, the Galerie Koronin has chosen to support uncompromising, political and deeply human art.