ABSTRACT
My meeting point with ORLAN is in the ‘madness of seeing’. ORLAN has described her work as situating itself ‘between the madness of seeing and the impossibility of seeing’ and the same phrase, ‘the madness of seeing’, is itself the title of one of my books, La Folie du voir (2002). Here I shall explore it in relation to ORLAN’s work and, in particular, the Baroque, on which she worked for over ten years, starting with the drapery of Bernini’s Saint Teresa of Avila (1647-52).
