Chochana Rosso



Photographer at JERGON agency since 2022, in Berlin.

    Graduated in graphic design in 2014, at the Higher Institute of Applied Arts, with a specialization in publishing, Chochana Rosso is twenty-nine years old. Her graduation project, an experimental photographic book about the confinement of women and their bodies in Parisian brothels before their official closure in 1946, bears witness from the outset to her obsession with the body, nudity and the exploration of feminity.

For my 14th birthday, my mother gave me my first camera. I built myself a photographic diary instead of writing one : family, holidays, objects, exhibitions, animals... and my first self-portrait. In 2020, I found this first photograph of myself.
We were on holiday in my great-uncle's house on the Ile-de-Ré (France). Upstairs, probably in a bedroom, there were two large windows with a chest of drawers in the middle, decorative objects on top and a mirror hanging on the wall. The photograph was not taken completely in front of the mirror, which appears to be leaning.
But it is centered and surrounded by the windows with their almost symmetrical curtains. You can hardly see anything of me in the reflection of the mirror. The flash of my automatic camera hides my face entirely and only my shoulders appear.


I didn't take any more photographs for about four years while working as a graphic designer in a Parisian shop. The only shots I took were rare and were memories. Although I no longer build anything with photography, it remains present in my life.
Especially when my maternal grandfather passed away in 2018. When I go to see him for the last time at the hospital, I have a small camera in my bag. But I won't take it out. I sometimes think back to that photo that doesn't exist: his stained, stubby hand with strong, muscular fingers in my pale, smooth hand. The shock of losing this man who had been very present in my life and my discomfort at work, redirect me to my first passion of photography and the desire, even the need, to create.

    In December 2018, she meets and poses for the Korean photographer Rala Choi, whose artistic work she has admired for several years. This encounter is a determining factor in her career. Chochana Rosso intensifies her practice and deepens her artistic approach. Since then, she has pursued, with ever-increasing passion, her research on the understanding of sexuality and the appropriation of the body through a series of self-portraits, dance videos and paintings.

Revealing my body is for me an important step and an affirmation. The nude allows me to materialize my emotions and to transmit my artistic vision. I use my body to symbolize my wounds in order to better understand them, accept them and appropriate my body little by little. Photography is my path to healing and its journal.

Like a diary, each photograph represents a thought, a pain... a part of me. I build this intimate and autobiographical visual collection around my disappointments in love, my sexual relationships, the absence of my partners, my hopes and I am researching the understanding of my sexuality and the appropriation of my body through my self-portraits. (...) I construct my journal as an artist learning who she is, and what being a woman means. My numerous research and experiments (photographs, fanzines, videos, paintings) will lead me to a more general reflection on the way women are perceived in society, through the eyes of men.

    Alongside this strong line, she’s developing a projec in which she comes into the intimacy of emerging artists’ creative process and takes their portraits. Fascinated by the work of Hervé Guibert and Jean Cocteau who shared their lives with artists of their time and immortalized them in photographs, drawings and/or writings, she wanted to recreate this exchange. Thus, Natacha Paschal and Camille Vignaud opened the doors of their studios and presented her their works and their stories. The same goes for the photographer and filmmaker couple Félix Cornu and Justine Abitbol, who explained how they work together and influence each other's works.

The artists' work space says a lot about their way of creating, how they see the world, what are their references. It’s their intimacy and, in my opinion, it represents the inside of their minds. All the little objects that compose their studios fascinate me. To be able to have an artist-to-artist exchange is something I find essential in a society where we often feel like we are competing against each other. And I find it important to share one's artistic process outside the framework of an exhibition. The artist's work is constant and part of them, it matures and evolves with them. That's what I find fascinating.

Exhibitions


2022


    • Les Marmittes artistiques - collective, 21 march to april 1st, Université de Nanterre, France
    • XXX Discarded online exhibition - collective, since december 2021, xxx-discarded


2021


    • FRESH EYES collective exhibition - Rotterdam Photobook Market, 14-17 October, Netherlands


Other


Since 2022


    • Ithaque Paris - Resident at the shared darkroom created by photographer Alexandre Arminjon, Paris


Online Publications


L’Oeil de la photographie - Chochana Rosso - April 2022
• L’Oeil de la Photographie - FRESH EYES : an overview of current photography - December 2021
• Fisheye - Coup de Cœur #329Littérature - February 2021
Revue(feu) issue 1 (dé)constructionLa Mort des Amants - February 2021
JANE by The Grey Attic - Littérature - 2020
C41 Magazine : Miss Edwarda - April 2020
FotoForm : Talk about equipment and lockdown series - July 2020


Publications


Discarded Magazine : S*x Diary - à venir/soon
Talent FreshEyes 2021 by GUP : /æfɹəˈdaɪti/(Aphrodite) - July 2021
Argentik ISSUE 8 “MONOCHROME” : Extract from La Mort des Amants - July 2021
Revue(feu) issue 1 (dé)construction : La Mort des Amants - à venir/soon