We leave Elin on Great Western Road.
On the ground, in front of an abandoned showcase, small glass squares form a rectangular carpet or circles that cover a part of the sidewalk. This is a lighting system for subsoil reserves, explains Mark. I met him in the morning, and he generously offered a walk in what turns out to be the district of his childhood. For starters, it reveals me, concealed behind trees, on a bordered part between motorway access ramps and a metro outlet, a sculpture of Saint Georges terrassing the dragon. He told me that she was perched at the top of a large building today destroyed, and an artist whose name I have forgotten has largely contributed to the safeguarding of these stones.
Having the Tardocapitalist city for central motif, exploring explore friction zones and fracture lines.
The urban space appears as a perpetual mutation entity, force field, semiotic machine where the thickness of the story is read.
Camille Fallet has been conducting a job that addresses issues of the experience of the place and its transcription through the lyric document. His research is also that of previous images, linked to a personal imaginary. In this associative visual memory, the notion of cutting, dual sense of extraction and sequence, holds an essential place.
Camille Fallet born in 1977, Lilas, lives and works in Marseille, France. For fifteen years, he is part of the artistic scene; In particular, an exhibition was devoted to it at the art center the day item in 2018. He recently published a book on Bordeaux-Métropole for the Agora 2017 architecture biennial and conducted a video work for Glasgow International 2018. His photographic investigation. Makes it to be invited to conferences and the HCB Foundation in 2018 or to experiment with the exhibition, as in 2017, with asphalt notes – a mobile and precarious America – 1950-1990 at the popular pavilion of Montpellier.