It all begins with Thomas Saint-Guillainet's turquoise hand, soon followed by a collection of images blued by time by Charles Villa, then 3,500 graceful skies hidden in the black by Anne Jaffrenou, and finally bodies painted in Avatar colors, photographed by Pauline Hisbacq. A striking issue, framed in blue. This primary color in our retina, which resists, persists, where is it leading us? We might then ask Jérôme Pélégry if he hasn't one day felt like giving one of his male portraits the air of Pierrot le Fou, a blue tint on a white face. Blue, a strange premonition. But already other colors are stirring; Green, red, yellow—the colors that adorn the packaging of Western products, which Eddy Ekete knows well from his festival in Kinshasa, DRC, where he showcases the insidious power of garish consumerism that ends up as waste in the overflowing streets. We would need to revisit all the pigments to imagine worlds where color soothes and resolves. To live in Josqlin's world, for example. Or in Florian Coppier's fractal images, conducive to contemplation. Or simply to live in the shade, in a soft gray. To live happily.
It all begins with Thomas Saint-Guillainet's turquoise hand, soon followed by a collection of images blued by time by Charles Villa, then 3,500 graceful skies hidden in the black by Anne Jaffrenou, and finally bodies painted in Avatar colors, photographed by Pauline Hisbacq. A striking issue, framed in blue. This primary color in our retina, which resists, persists, where is it leading us? We might then ask Jérôme Pélégry if he hasn't one day felt like giving one of his male portraits the air of Pierrot le Fou, a blue tint on a white face. Blue, a strange premonition. But already other colors are stirring; Green, red, yellow—the colors that adorn the packaging of Western products, which Eddy Ekete knows well from his festival in Kinshasa, DRC, where he showcases the insidious power of garish consumerism that ends up as waste in the overflowing streets. We would need to revisit all the pigments to imagine worlds where color soothes and resolves. To live in Josqlin's world, for example. Or in Florian Coppier's fractal images, conducive to contemplation. Or simply to live in the shade, in a soft gray. To live happily.
