Dysnomia crosses matter and time. Introspection of an organic world where the infinitely small is immensity, where forests are made of the same material as stars, where fire dances with the shadow of men.
Two worlds meet: that of the living, with irregular shapes, revealing faces in the hollows of trees, where a shape gives birth to a movement, a blossoming, and that of the alienation of man, locked in, this world becoming too small for him. (…) Through his work, Alexandre Dupeyron has created uninterrupted conversations between his series that exude a feeling of universal matter, like a black hole. A luminous energy surges forth like a vital spring that requires an essential presence of being. (…) Everything is linked by sensitivity. Alexandre Dupeyron does not seek to dissipate photography’s inherent ambiguity, capturing facts to better remodel them. It is in the substance itself, as in the essence of things – these inseparable elements – that we must search for our own nature. In this way neither clarity nor explanation can arise from contemplating the images, only a poetic combination of sensation, this thing that touches us, as we are confronted with unending spaces: a different idea of time that we can only perceive through displacement to another plane. Photography today, rid of event, affirms another presence. Alexandre Dupeyron’s project is one of photography as pure delight, where pleasure, through representation, is to be found in the possibility of approaching the dizziness of the unknown.
François Cheval, extract from the afterword of Dysnomia
published by SUN/SUN.
Born in 1983, French-german, Alexandre Dupeyron discovered photography at an early age in his improvised darkroom. He pursues a poetic, purely evocative approach, associated with black and white and the representation of movement. Between reverie and off-road, he travels the borders of reality. His work attempts to translate the poetic or even spiritual dimension of what we are and what surrounds us.
His series construct a discourse between dehumanised universe
- De Anima (2016) & Runners of the Future (2010-2020), the relationship with nature – L’étale des saisons (2014) & Mondes Oubliés (2019-2020) and a recurring questioning of transcendence
- The Morning After (2016).
Since 2017, he has been exploring the dialogue between photography and music and regularly collaborates with musicians or sound designers.
July 4 to September 25, 2022
FOTOHAUS ARLES 2022 co FONDATION MANUEL RIVIERA-ORTIZ
18, rue de la Calade, 13200 Arles