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・ Nathan Alterman
・ Nathan Altman
・ Nathan Altshiller Court
・ Nathan Ames
・ Nathan Amos
・ Nathan and Clarissa Green House
・ Nathan and Mary (Polly) Johnson properties
・ Nathan and Susannah Harris House
・ Nathalie Cabrol
・ Nathalie Cardone
・ Nathalie Carpanedo
・ Nathalie Cely
・ Nathalie Chung
・ Nathalie Collin
・ Nathalie Cox
Nathalie Daoust
・ Nathalie De Vos
・ Nathalie de Vries
・ Nathalie Dechy
・ Nathalie Delon
・ Nathalie den Dekker
・ Nathalie Descamps
・ Nathalie Dielen
・ Nathalie Djurberg
・ Nathalie Doucet
・ Nathalie Dupree
・ Nathalie Elgrably-Lévy
・ Nathalie Emmanuel
・ Nathalie Etzensperger
・ Nathalie Fauquette


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Nathalie Daoust : ウィキペディア英語版
Nathalie Daoust

Nathalie Daoust (born March 31, 1977) is a Canadian photographer and contemporary artist. Using space and light as avenues through which to examine the creation of self, shie constructs fantastic worlds that lay bare the conflicting impulses that drive us.
== Biography ==
Daoust studied photography at the Cégep du Vieux Montreal (1994–1997). Upon graduating she moved to New York City, where she spent two years inhabiting and photographing the uniquely themed rooms of the Carlton Arms Hotel. These images comprise her first book, ''New York Hotel Story'', published in 2002. ''New York Hotel Story'' introduces many of the themes she grapples with in subsequent works, including identity, gender, sexuality, time and memory, and escapism.
Her photographs focus on exposing hidden desires and dreams, frequently as manifested in the margins of society. Too often this margin is inhabited by women, as many of her projects attest. From portraits of female sex workers in Brazil and Japan, to the role of women in contemporary Chinese society, Nathalie explores the darker side of the construction of female identity.
Nathalie is led by her desire to understand the human impulse to construct experiences that allow us to live, for at least a moment, in a fictive world. From female dominatrices at a Japanese S&M hotel in Tokyo Hotel Story, to one man’s decision to discard his own identity in favor of another's in ''Impersonating Mao'', her work inhabits the liminal space between fiction and truth. Her most conceptually complex project to date, ''Korean Dreams'', explores the meaning of fantasy itself. While traveling through North Korea she observed the manipulation of reality on a national scale, capturing the layers of forced illusion perpetuated by the North Korean government.
Employing a variety of means to address her subjects, Nathalie’s technique plays a crucial role in communicating content. She employs non-digital techniques so that the process of creating the image itself contributes to her conceptual explorations.

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