The Double exposure technique used in many of Emil Cadoo's images allowed him to just about get away with his lovemaking series. Far from explicit, by adding another layer to the image the entwined figures take on a poetic resonance and adopt an entirely different tone.
The water like ripples marry and add rhythm to the lovers embrace and at times distort, we can just about make out the nape of a neck...
Understandably the body and nature of Cadoo's work would provide a suitable cover image for a likewise controversial piece; Henry Miller's Sexus.
Perhaps the real reason behind these double exposures is to express Cadoo's own personal sense of displacement as a homosexual black man. He go on to build a large portfolio on contemporary jazz and musical stars in Paris.
I tend to lean toward his double exposures all the same. The statue and leaf double exposures (as below) as Mark Gisbourne explains is 'like looking through a pane of glass on a rainy day at the statuary in Pere Lachaise.'
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