Represented by Gallery VU'
Born in 1950 in Provence.
Bernard Faucon was one of the first photographers in the second half of the 20th century to systematically create and master the constructed image. Nonetheless, he declines Christian Caujolle's characterization of his work as "an approach to time in the context of photography and life that investigates the feeling behind contrived settings, the deceits of photography in its relation to reality, and its manipulation of truth and forgery, which confronts the medium's limits and defies them."
For more than 20 years, his staged photographs have been exhibited in international galleries such as Leo Castelli in New York, and Agathe Gaillard and Yvon Lambert in Paris. Elsewhere, he has also been a part of collective exhibitions dedicated to staged photography.
On September 2000, I am 50, we are chatting underneath a limetree, outer noises are very strong, bugs, wind...they are almost covering our inncoent conversation on the weather or this evening diner.
This was how in the 1980s I was picturing the "unpicturable": the year 2000, being 50.
What is confusing when planning on the big unknown the future is is the inevitable permancence of sensations and things as everything will be quite the same as long as there'll remain People.
Summer 2550 in Champassak, it was summer 2007 in Santiago de Cuba, considering the five hundred and forty-three years the buddhist calendar is ahead of.
Brandishing the figures of the years and centuries we'll never...
All the photographs have been taken, those that may not have been yet are being taken right now by the millions of lenses that record everything, anonymously, the world over. What is there left for the photographer who has not exhausted his pleasure of seeing? To collect visions, arrange them to build new sensations of seeingâ€¦ I â€śstopped photographyâ€ť because I was convinced that it was over, that the period of the history of photography I had belonged to, â€śstaged photographyâ€ť, was the swan song of photography, the last stage before the reign of pure image, digital, commercial. A time when we still believed sufficiently in the power of truth of photography to afford ourselves the...
Idols and Sacrifices mark the end of a long cycle of abstraction, idealisation, that had led from the first pleasant times on the beach to the gold haze of the Chambers. The end also of an innocence, a magic confidence in the power of the image, in that â€śleibnitzianâ€ť idea that every image contains all others, contains the world.
Dressed up as a sort of back-to-basics of photography, back to the classic genres, â€”the Portrait and the Landscape â€” Idols and Sacrifices constitute a laying-bare, a radicalisation, a simplifying of the means that will take me to the End Of The Image. The wish to face, once at least, the body only, beauty without artifice. The wish to answer in my own way...
The pleasure to say is differente from the pleasure to show, to say in one's own words, the words of your unique language.
Those sentences of disenchantement that I had been pondering for some time, those solemn forebondings of Â«Â The end of desireÂ Â», may have found their source in the moroccan slogans on the rocky mountains : Â«Â God, the King, the People.Â Â» A wish to cry out my personal truths the size of the landscape, to treat the words like physical bodies on the scale of their setting...
Starting from my own handwriting, I made big wooden words, 50 to 100cm tall, I put them together, covered them in reflective fabric (Sctchlight). At the time of shooting I used a powerful flash...
One way or another I had to eventually make true my claim to finish, my obsession with closing. This became The End Of The Image. There is nothing more common than the words of a language used by all those who speak the same language. Yet, at the same time, those words are unique, like the dialogue that continues beyond the first flesh given to us.Those last images are whispered words, cryptic formulae that conceal tremendous evidence, indecencies. The skins and bodies are no longer the skin and body of any particular child, they are the skins and bodies of our lost childhoods. A big, unique body unfolding infinitely. The very childhood of life, the source of all nostalgia
The Chambers of Love setting had been ready for quite a while, ever since the Last Supper photo (1981). I was ready for the alchemy of burning and emptiness.
No sooner had the first photo been named: the Chamber of Love, than I understood I had â€śmy subjectâ€ť at hand, that everything else had been a mere picturesque detour, that I could stop there and invent such chambers by the thousandsâ€¦ romantic renouncement, sensuality of absence, lust in white, the soul, freed from all weights, hovering over the last traces of bodiesâ€¦ and at the same time, the traces of bodies that linger when all the rest is lost.
The idea of fabricating fictions, the idea of a possible equation between photography and the dummies, struck me quite out of the blue. Childhoods made of flesh and plaster, the many lights of the Luberon, the nostalgia and actuality of desires, crystallised together through the magical operation of the photographic record. The power to fix, eternalise in light, attest to the world the perfection of an instant.
The summer of â€™76 got off to a flying start. I could feel my strength and my youth burst open. I filled the Mehari (my cheap Citroen open-top car) with dummies and I was all over the drives, the dormitory in my parentsâ€™ children home, the churchyard in Lioux, the swimming-pool...
Â«Les Chambres dâ€™amour, mainly given up by the actors of scenes about whom we shall know nothing, impose feelings, by means of the tension between embers and ice, projection of a face on the ground or a simple event of light projecting on the wall the colors of a stained glass.Â»
Spanish version of the book "Chambres d'amour". Text by: Bernard Faucon, Daniel Abadie Publisher: William Blake & co (1997) 100 pages
Les chambres d'amour
"Les Chambres dâ€™amour, mainly given up by the actors of scenes about whom we shall know nothing, impose feelings, by means of the tension between embers and ice, projection of a face on the ground or a simple event of light projecting on the wall the colors of a stained glass." Publisher: William Blake (1997) Size: 25X32cm
Monograph created by Galerie Municipale du ChĂ˘teau d'Eau in Toulouse during Bernard Faucon's exhibition in april and may 1993. Publisher: ChĂ˘teau d'Eau Toulouse : 182Ă¨me monographie de la collection (1993) 20 pages Size: 21 x 21 cm
There is only one theme, one starting point: the dizziness to be there.
Bernard Faucon was 14 when his grandmother gave him a Semflex, a photo device 6 x 6, and discovers, fascinated, the magic of these great color slides that are so good at capturing the immediacy of the world. He remained faithful for 20 years at this technique.
Him, who wanted to be a painter or writer, can play with the camera trying to recreate the perfection of a moment, the face of the living, sensing the unintended poetry of everyday life. The framework is, first and foremost, the Luberon and its landscapes, its...