The tyranny between light and shadow (the underexposed and the overexposed) is given a precise image in the opening sequence of Jean-Luc Godard's Les Mepris (1963). As the camera slides three times along Camille's desirable, tricolor-lit body, the face of the affirmative boyfriend - Paul - is left throughout the scene, no matter what the lighting colour is, covered by Camille's shadow. This is the overexposure of the seductive object in the eyes of the lover, himself obscured by her shadow; and it's this dialogue between the overt and the hidden, the highlighted facade and the shadowy underbelly, that the collective Transidency contemplates in their first London exhibition Under / Over.
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