We are transported into the slick world of advertisements’ high epoch. The clean execution of image; isolated and pure, is held up to our gaze as a perfect object of desire. This years Calvin Klein photo shoot, or Catherine Deneuve in a Channel add; there is no escaping the appeal that the studio lights and white backdrop create.	Lemort’s carefully observed execution of the studio idiom allow him to enter stealthily into the labyrinth of archaic desires, without clumsily falling into the easy criticisms of consumerism that dog others approaching this subject. With clean execution and dry humour, he is able to both reveal the subtleties of the manufacture of craving and yearning, and enjoy the indispensable fact of its power.
Olivier Lemort, hands us perfectly formed films narrating the tale of ordinary needs and wants, and how they simultaneously define us as we define the world through them. He and his friends are the actors in the works, giving a personal take on this worldwide phenomenon.
	By reducing the key through a shared joke, a humorous overlay of nursery rhyme, or a Walt Disney song, we see how dependant we might be to a world that is usually considered trite and crass. It is this revelation of the dynamic of the image outside of an arts context that makes Lemort’s work so interesting.