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Journal n°1 - Les briques
Read the text | Diaporama | Back to gallery

  • Vue de l'exposition à l'Ecole d'art de Saint-Omer, 2016
  • Vue de l'exposition à l'Ecole d'art de Saint-Omer, 2016
  • Vue de l'exposition à l'Ecole d'art de Saint-Omer, 2016
  • Vue de l'exposition à l'Ecole d'art de Saint-Omer, 2016
  • Vue de l'exposition à l'Ecole d'art de Saint-Omer, 2016
  • Installation
  • Installation
  • Installation
  • Journal n°1 - Les briques
  • Journal n°1 - Les briques
  • Journal n°1 - Les briques
  • Journal n°1 - Les briques
  • Journal n°1 - Les briques
  • Journal n°1 - Les briques

  • Journal No. 1 shows an arrangement of six red bricks from a demolition site; six red bricks arranged in such a way as to form an idea of ​​a model, a summary architectural structure, a schematic and fragile building that could evoke both a building game for children, a makeshift shelter, a prison or a medina. There is no clearly defined analogies, typologies too fixed or too rigid, in this attempt of architectural reconstruction;  just open evocations. Each composition of bricks emerge on a variegated background that looks like a changing sky, gladly agitated. Over the pages, the images come back, insistent. In this journal of images, without title, without text or date, news is not given;  it is to be reactivated each time you take it in hand. 

    This photographic work was imagined, from the beginning, in the form of a newspaper.  It was conceived in the geo-political context of Western attacks in Libya and the beginning of the war in Syria.

    Today this newspaper unfolds in the form of the installation and adapts willingly to places that welcome it (newspapers posted on the wall).  The last mutation of this work consists in large collages made from cuts in the newspapers themselves. Theses collages are framed and placed on the ground or hung on the wall.

    Journal n°1 - Les briques
    Read the text | Back to gallery

    Vue de l'exposition à l'Ecole d'art de Saint-Omer, 2016
    Vue de l'exposition à l'Ecole d'art de Saint-Omer, 2016
    Vue de l'exposition à l'Ecole d'art de Saint-Omer, 2016
    Vue de l'exposition à l'Ecole d'art de Saint-Omer, 2016
    Vue de l'exposition à l'Ecole d'art de Saint-Omer, 2016
    Vue de l'exposition à l'Ecole d'art de Saint-Omer, 2016
    Vue de l'exposition à l'Ecole d'art de Saint-Omer, 2016
    Vue de l'exposition à l'Ecole d'art de Saint-Omer, 2016
    Vue de l'exposition à l'Ecole d'art de Saint-Omer, 2016
    Vue de l'exposition à l'Ecole d'art de Saint-Omer, 2016
    Installation
    Installation

    View of the photo-based installation at Château Coquelle in Dunkirk, 2018

    Installation
    Installation

    Detail of the photo-based installation at Château Coquelle in Dunkirk, 2018

    Installation
    Installation

    View of the photo-based installation at Château Coquelle in Dunkirk, 2018

    Journal n°1 - Les briques
    Journal n°1 - Les briques
    Journal n°1 - Les briques
    Journal n°1 - Les briques

    Collage #1 - 82 x 122 cm

    Journal n°1 - Les briques
    Journal n°1 - Les briques

    Collage #2 - 82 x 122 cm

    Journal n°1 - Les briques
    Journal n°1 - Les briques

    Collage #3 - 82 x 122 cm

    Journal n°1 - Les briques
    Journal n°1 - Les briques

    Collage #4 - 82 x 122 cm

    Journal n°1 - Les briques
    Journal n°1 - Les briques

    View of the exhibition at the Kunshalle - Erfurt, 2014


    Journal No. 1 shows an arrangement of six red bricks from a demolition site; six red bricks arranged in such a way as to form an idea of ​​a model, a summary architectural structure, a schematic and fragile building that could evoke both a building game for children, a makeshift shelter, a prison or a medina. There is no clearly defined analogies, typologies too fixed or too rigid, in this attempt of architectural reconstruction;  just open evocations. Each composition of bricks emerge on a variegated background that looks like a changing sky, gladly agitated. Over the pages, the images come back, insistent. In this journal of images, without title, without text or date, news is not given;  it is to be reactivated each time you take it in hand. 

    This photographic work was imagined, from the beginning, in the form of a newspaper.  It was conceived in the geo-political context of Western attacks in Libya and the beginning of the war in Syria.

    Today this newspaper unfolds in the form of the installation and adapts willingly to places that welcome it (newspapers posted on the wall).  The last mutation of this work consists in large collages made from cuts in the newspapers themselves. Theses collages are framed and placed on the ground or hung on the wall.