Few artists let bodies and beings be seen as Monika Macdonald does. Like an entomologist, the Swedish photographer looks at her model as a specimen. Trapped in an unusual intimacy, the subject evolves in an enclosed space, far from her social environment, immersed in herself. It's like stumbling upon something we shouldn't see, putting us in the position of a voyeur. In Hulls, her second exhibition at the VU' gallery, Monika Macdonald continues the work begun in In Absence and focuses on the masculine. Her treatment of the pose is reminiscent of classical iconography, her nudes the bodies of the Renaissance, her light the chiaroscuro of Caravaggio. And yet, the artist places himself in a clear break with traditional patterns of male virility and beauty. The raw light, the approach of the frame, the face to face reveal a whole of flesh, disorder, doubts, vulnerability of body, mind and feelings. And it reveals of these men, stripped of their simulacra and scrutinized by the photographer, all their truth and their beauty.