His series “White Square” brought the fame of the erotic photography classic to the French photographer Eric Marrian. Many times, heterosexual glossy magazines like “Elle” noted his works’ sensuality, and their nature unspoiled by pornography. The “Weekend Russia” claimed that the feminists should be overjoyed to have his answer to the question, if woman is human. He says that undoubtedly, yes. All this is noteworthy for his photography is deeply fetishist, despite his glossy fans’ rapture. He was trained as an architect, and he is enchanted not with the female sensuality but the cold geometric potential of the human body itself. In his case, this body is no more than a modified building shaped from wet clay. It is faceless, and abstract. The purity of his White Square is the cleanliness of fantasies dreamed by a maniacal fetishist who wipes a sterile tabletop with his wet hanky for the hundredth time. Marrian’s attraction to the body architecture is similar to some other’s people inclinations to women’s shoes, SM clothes of leather and latex, or to watching round dances of genitalia through a keyhole. All this, however, doesn’t belittle the aesthetic value of his works. The only reservation there is that Marrian’s Apollonic Eros lacks the Eros. His form is without any desire, and his sets are without any sexual attraction. Otherwise, they are quite beautiful.