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 flamboyant sunsets where he sometimes recorded his silhouette, the languorous sadness of a winter's day , the hills which rise beyond. Home of his parents is then a summer camp for children. There he photographs his friends, his brother Pierre, often, his grandmother, the drying linen, the sun that gilds everything, the yard, the kitchen, the dry grass. He isolates moments, objects, subject. Each image seems to support the deep experimentation of a reality being done. The portraits are poised, serious and the one of Pierre Ã la BalanÃ§oire or swing or Michel Ã la Chapelle bring the attention to the framework or the construction of the image.
This intuitive, instinctive work, says the tense sensitivity of a young man of 16-17 painfully aware of a reality that no longer exists. Looking in order to keep better. But this is also meaningless. We know that the artistic necessity roots in childhood. And like any artist , Bernard Faucon drew them to create these images that we fill of our experience, our desires, our questions and sometimes our regrets. They become the material of which we are all made .
Â« From the outset, I was dazzled by the ability to capture the world, even if I kept wanting to be a painter. I photographed the sky, the glow of the setting sun through the trees, the faces of children, my brother Pierre. Faces and lights only. Â» â€” Bernard Faucon