Benoît Laffiché - Michel Perot - Yvan Salomone

Three artists share this exhibition: Yvan Salomone, whose work was the starting point for the project, Benoît Laffiché, Salomone's guest and Michel Perot who is returning to le Printemps de septembre after having shared the walls of the BBB with Samuel Richardot in 2008. These three artists are above all walkers who pace disdained, peripheral places. These are moving edges then (a reference to the exhibition title); underdeveloped countries, abandoned areas or the vague outskirts of cities are worlds in which entropy wins. This exhibition shows that artists can reveal the fleeting beauty of these places without turning their elegy into a lament.

Benoît Laffiché

Born in 1970, helives and works in Lillemer (France).

Pirogues

Close to Dakar, he embarked on a nigh-time fishing trip in a pirogue. The almost abstract film he is presenting was chosen by Salomone. The night-time pictures make the scene barely visible, except for uncertain lights that sway in the darkness. And this gives the soundtrack real importance: here the sound reveals whereas the picture comes up against darkness. The limit of representation, representation of a limit. We see that Laffiché observes components of the world that are not shown in the spectacle of our lives. His work is constructed through contact with the invisible. 

Michel Perot

Born in 1981, he lives and works in Colombes (France).

Le Bleu des rails

Exploring by foot or by train, he manifests its modest beauty and discreet joys in watercolour. His categorically modern railway-landscapes appear hazy, as if veiled by a soft nostalgia reminiscent of the arrival of urban figuration in 19th century painting.

Yvan Salomone

Born in 1957, he lives and works in Saint-Malo (France).

Ce matin-là
 

He has been painting the same sized watercolours since 1991. They are mostly inspired by the same theme: harbours, left-overs of the industrial era, marginal areas. These pictures are strongly coloured and their very structured composition relies on the joining-together of photographic fragments, reminiscent of the history of art and of modern architecture, which both give his work a lyrical aspect. Salomone's world is more a view of the spirit than it is a reproduction of the visible. He wanders frontiers which all human presence seems to have withdrawn from. He views them with mythological and iconographic eyes. He turns them into obvious and puzzling familiarities. Here, twelve watercolours inspired by a stroll through the Bellefontaine neighbourhood are presented next to black and white reproductions of the twenty pictures he painted this year. A whole year of work is therefore reunited, allowing his visual universe to be evaluated.