Evolution probable du temps, 1980-2000

«No description, no demonstration, just enigmatic moments, which question the time, the one of an ended past, of an imperceptible future.»

Christian Caujolle, in Bernard Faucon, Actes Sud, 2005

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Les Chambres d’amour, 1984-1997

«Les Chambres d’amour, mainly given up by the actors of scenes about whom we shall know nothing, impose feelings, by means of the tension between embers and ice, projection of a face on the ground or a simple event of light projecting on the wall the colors of a stained glass.»

Christian Caujolle, id.

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La Fin de l’image, 1993-1995

"Only the words remain, inscribed on the materiality of the body. For everyone to think about. Photography can be nothing more and it's time to say "the end."

Christian Caujolle, id.

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Les Ecritures, 1991-1992

«Series of maturity that shows the necessity of using the text (the Text?), because photography has natural limits.»

Christian Caujolle, id.

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Les Idoles et les sacrifices, 1989-1991

«Cohabitation of the violent drama marking with blood the landscapes and the perfect beauty of a youth assaulted by the light, this series marks a new turn. It bases itself on the systematic stage setting of the landscape, which is going to welcome Les Ecritures

Christian Caujolle, id.

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Le Temps d’avant, 1965-1985

«There is, at first, an original landscape, in Lubéron […] in square format, in color slide, with a Kodak film to which he will be faithful to the end. […] it is rare for a young series to contain so many constituent elements of the work to come.»

Christian Caujolle, id.

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Les Grandes vacances, 1975-1981

«In the universe of its own game, by trying to excite at once a sensualism, fears, the pregnancy of time, the amplitude of the space that collects the scene, Faucon invents Grandes Vacances, which will continue with the more precise series, L’évolution probable du temps.»

Christian Caujolle, id.

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