Dans les lieux délaissés, dans les moment ténus, Régis Feugère fixe le célibat des choses. Que le bitume soit gagné par l'obscurité, que les frondaisons d'arbres majestueux soient absorbées par une brume probablement tératogène, ou, comme dans la série Entropie, que la tôle corrodée d'un entrepôt éventré s'expose généreusement au vent, à la pluie et au regard, l'artiste parvient à saisir l'imminence jouissive du désastre, l'euphorie de la disparition, le mystère de ce qui va bientôt atteindre le seuil. Si le rapprochement avec les vanités peut en constituer une première expérience, dans la mesure où la limite, la finitude sont ici omniprésentes, ce travail se signale également par la tension, si ce n'est la lutte, dans laquelle ces objets tentent de se maintenir par-delà l'image.
In abandoned places, in tenuous moments, Régis Feugère fixes the celibacy of things. Whether the bitumen is taken over by darkness, whether the foliage of majestic trees is absorbed by a probably teratogenic mist, or, as in the Entropy series, whether the corroded sheet of a gutted warehouse is exposed generously to the wind, to rain and to glance, the artist manages to capture the enjoyable imminence of disaster, the euphoria of disappearance, the mystery of what will soon reach the threshold. Even if the omnipresence of the limit, the finitude lead to the connection with vanities as a first experience , this work is also signaled by tension, if not struggle, in which objects try to maintain themselves beyond the image.
Jean-Christophe Arcos, texte de l'exposition La Dispute de l'âme et du corps, Avril 2013, Cloître des Billettes, Paris.
Lien/Link : _
In abandoned places, in tenuous moments, Régis Feugère fixes the celibacy of things. Whether the bitumen is taken over by darkness, whether the foliage of majestic trees is absorbed by a probably teratogenic mist, or, as in the Entropy series, whether the corroded sheet of a gutted warehouse is exposed generously to the wind, to rain and to glance, the artist manages to capture the enjoyable imminence of disaster, the euphoria of disappearance, the mystery of what will soon reach the threshold. Even if the omnipresence of the limit, the finitude lead to the connection with vanities as a first experience , this work is also signaled by tension, if not struggle, in which objects try to maintain themselves beyond the image.
Jean-Christophe Arcos, texte de l'exposition La Dispute de l'âme et du corps, Avril 2013, Cloître des Billettes, Paris.
Lien/Link : _
«Régis Feugère was born in 1976, after studying Art History and training technique in photography, he joined the European School of Image d'Angoulême from 2002 to 2007 where he established the bases of his visual language. In contrast with photographs in search of some kind of effect, his approach is patient, thoughtful and measured, that nowadays might sounds like a commitment or even a resistance.
His compositions crack the varnish of the world that we thought we knew, giving space to doubt, confusion and worry. The various residences, exhibitions and independent projects carried out allowed him to assert his photographic style, far from visual chatter and stylistic complacency and echoing the tumult of the world and of his history.»
Philippe Bazin
«Régis Feugère was born in 1976, after studying Art History and training technique in photography, he joined the European School of Image d'Angoulême from 2002 to 2007 where he established the bases of his visual language. In contrast with photographs in search of some kind of effect, his approach is patient, thoughtful and measured, that nowadays might sounds like a commitment or even a resistance.
His compositions crack the varnish of the world that we thought we knew, giving space to doubt, confusion and worry. The various residences, exhibitions and independent projects carried out allowed him to assert his photographic style, far from visual chatter and stylistic complacency and echoing the tumult of the world and of his history.»
Philippe Bazin