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Fabienne Cresens, La montée des eaux

Fabienne Cresens La montée des eaux, 2018

View in a room Photography 39.4 x 39.4 inch 1 remaining copy

$1,185

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Fabienne Cresens, La montée des eaux
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Fabienne Cresens

Born in: 1957 Belgium
Biography
Translation in progress

La montée des eaux de Fabienne Cresens


From light to dark, Fabienne Cresens is a Belgian autodidact photographer. Born in Africa, she has not stopped since the age of seventeen, to expand the field of her art, from film to digital to today's photophone, with what she calls photographic objects that open the way to new fruitful experiments that it leads mainly to Brussels, city and creation (s). 


When our perception of reality is asphyxiated to the point of giving rise to doubt about the truth of what we see and thereby throw confusion into consciousness, Fabienne Cresens works on the archeology of the real, its falls and its beauties. That's all the subtlety of Fabienne Cresens' long-term work. It escapes all binary shares. It's path (s). It is in this wake that the exhibition La Montée des Eaux seems to have been conceived; the idea of ??a series of observers in black and white bathing caps stretched between the little true fact and the destiny of humanity.


In La Montée des Eaux by Fabienne Cresens, they are faces of thoughts, landscapes of strangeness, moments of passion, that we travel, look, immersed in the universe that penetrates us, where the "I" and the "We" We come out different, transformed by a question: "What do these images, which evade matter and time, want? What do they want from me? ".


At the heart of Fabienne Cresens' work, there is the broken, dark vision, rendered to lyricism. But a lyricism that wants to be deeply realistic and humanistic in, between and with the images. There is something subtly poetic, at once narrative, political and aesthetic.



Since 2009, the photographer takes a look without concessions but not lacking in sweetness on a reality that many still refuse to see: climatic deregulations. And today, she surprises in that she composes a series of black and white photographs of pure attention to her environment, human beings and animals that are connected to it.

Here, Fabienne Cresens comes closest to a face, from child to adult, known or less known, as if it were seen for the first time. The face is naked, simple and overwhelming, surprisingly alive. He recounts with his eyes open and closed mouth something of what men do to mountains, forests, glaciers, to heaven as to the earth. There, the fixed face goes to the essential to embody a responsibility, a vigilance, an attitude towards the powerful destruction of the elements in fury - torrential rains, floods, devastating winds, storms, cyclones or tsunamis.


The series Montee des Eaux does not weigh down on explanatory pedagogy or cheap moral considerations to say "no" to the nightmare of final annihilation. In an enterprising sweetness, it imposes a look at the sensory and magnetic acuity. In his slightest jolts, his ascetic beauty, his silent revolt is the sign of a possible (re) birth in the world, another step. Hic et nunc, the faces never sleep.


Notes, Sylvia Botella, January 2019

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Fabienne Cresens, La montée des eaux
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