Extract
[...] He manages to deliver universes marked by difficulties of all kinds with a true formal requirement, with a keen sense of space, especially empty, quite unique, and of light. This alchemy gives his work a great accessibility, a generosity of meaning, a simplicity of language, despite his journalistic and artistic requirements. A photographer of modesty and silence so talkative. [...]
[...] It is thought that the photographer captures a moment where the child comes to take a breath, in the midst of a session of work (the outfit). Fatigue and a struggle can be read in his body, in his face. The exhaustion of the white face contrasts with the dimness of the barn, supported by the strong contrast. But the call for air seems to have little effect with the little space of the breach, the barrier that retains Quentin, the deplorable state of the barn. [...]
[...] We can emerge from these exchanges that Pierre Faure's snapshot manages to convey its message despite the absence of its subjects, the gypsies, unknown to the observers at first, and the apparent simplicity of the photographic device. In this sense, anyone who observes the photo has a strong access to what they live, under several elements. Faure's gaze literally spreads here to those who observe it. Conclusion Knowing how to operate as a true photojournalist, directly dealing with field subjects, Pierre Faure delivers a high-level photographic work. [...]
[...] Analysis of the photographic style Pierre Faure primarily works in black and white, although some of his series, such as those on the CHRS Le Refuge, have been in color. His preferred format is landscape and his preferred plane is the wide-angle plane, which allows him to deploy all the attention he gives to the environment. This environment exists in his work under two trends. The first, a sensitivity to empty space. His series Les jours couchés is a paroxysm in this approach, proposing clichés close to abstraction. [...]
[...] Presentation Pierre Faure is a French photographer born in 1972. Former student of economics, he has an approach based on immersion, dedicating himself to independent photojournalism. He first became interested in the precariousness near Paris and then embarked on a long-term project called France Periphery, which he has been enriching since 2015. Faure meets his subjects thanks notably to a close contact with associations, from which he is also a corporate provider. Distinguished many times by institutions - winner of the Albert Kahn Grant in 2018, Grant from the National Center for Plastic Arts in 2020 - his work is the subject of eloquent media coverage. [...]
