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  • Snowpark - Philippe Fragnière


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    01.06.17

    Philippe Fragnière’s artist's book snowpark consists of a selection of photographs from a series the artist undertook as his diploma work at ECAL (University of art and design in Lausanne, Switzerland) in 2012 and pursued after graduating.

    Constructed as ski terrains for freestyle competitions, snowparks form monumental snow architectures erected as takeoff platforms for riders. Appropriating elements of the urban environment or citing architectural archetypes, these ephemeral structures insert the built environment of the city into the Alpine landscape. This confluence of the urban and Alpine contexts prompted the artist’s initial investigation into freestyle culture. The project then evolved into a wider reflection on the proximity of these snowparks with artistic practices such as sculpture and Land art. The snowpark series parallels both these concerns through its combination of two types of photographic documents: sharp documentary photographs of decontextualized urban elements and pristine, almost abstract, landscapes which reveal these constructions' formal qualities while questioning the nature of the photographic document itself.

    Extending the artist’s research, the book presents the snowpark photographs as one continuous landscape, yet constantly in the process of being assembled and rearranged. Either cropped into geometric volumes by the pages’ folds or emerging as futuristic panoramas through their unfolding, the snowparks are merged with their settings to construct an endlessly reconfigurable landscape blurring disinctions between the built and the natural environment. By acknowledging the dialogue between these environments and aestheticizing its elements, snowpark forges new perceptions of the contemporary Alpine landscape. 

    The SNOWPARK book is published by Kodoji Press (CH)

    It was nominated for the Paris-Photo Aperture Phonebook award in 2014.

     

     

     

     

     

     

     

     

     

     

  • Kigumi - Philippe Fragnière


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    01.06.17

    These wooden icons of a bygone era embody the traditional architecture of Japan. The art of Japanese joinery survives to this day through the craftsmanship of a few revered masters. These remaining daiku – or architects – uphold the knowledge and methods of “the way of carpentry”, which the rapid technological advances of postwar Japan had partially discarded. Kigumi delves into the infinite combinations of these traditional hand-carved objects when exposed to the possibilities of the mechanical eye. 

    The series explores the functional properties of these objects by exposing the mortise and tenons where the wooden structures connect. Shot individually on a white surface with the systematic use of a single viewpoint, the images take on a typological nature. Yet the stark shadows created by the bright light of the midday sun transform the objects into new, hybrid geometric forms. The subtle interplay of wood and shadows, empty spaces and volumes, creates autonomous structures – at times abstract patterns, architectural motifs or composite sculptures – which redeem or erase the objects’ initial three-dimensional nature.

    The KIGUMI book is published by Lemon Books (Tokyo).

     

     

     

     

     

     

     

     

     

    • KIGUMI
    • KIGUMI
    • KIGUMI
    • KIGUMI
    • KIGUMI
    • KIGUMI
    • KIGUMI
  • Greppon - Philippe Fragnière


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    01.06.17

    Artist Statement

    The series stems from a desire to explore, on the one hand, the mythology tied to the natural and alpine environments, kept alive in mountain villages by the old generation; and on the other, from a desire to escape the oppressing sense of stagnation felt in villages where at times death seems to be the only aspiration. If some of the images explicitly refer to existing beliefs, like the snake photograph, the series is more  ctional than documentary. It seeks to echo the way in which myths single out, the ways in which objects are made into sym- bols and reality distorted within that process. It unfolds as a series of vanities that universalises through themes such as death (agaric imprint for example), decrepitude (the motif of the ruin) and absence, places and objects often used to pro- mote a particular regional identity. Finally, these images seek to express existential feelings such as the weight of time and the anxiety of death that here originate in part in the personal and often fraught relationship between the symbolic and cultural investment of an environment and lived experience.

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

  • Philippe Fragnière photographs for Hermés


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    01.06.17

    Directeur de Création : Fabien Mouillard @ Publicis et Nous

    Achat d'art : Marie Granelli @ Publicis et Nous

    Illustrateur: Edouard Baribeaud 

     

     

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