Fouquets20_issuu

ART
3. “Monokel Diele, Vogue
Allemagne”, 2009, impression
acrylique sur aluminium.
4. “Candice Swanepoel,
Harper’s Bazaar Corée”,
2011, impression acrylique
sur aluminium.
5. “Coco Rocha, Numéro 2007”,
impression acrylique
sur aluminium.
6. “Heidi Mount, Vermont,
2009”, impression jet d’encre
noir et blanc sur papier Arches.
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admirer « les photographes qui sont devenus
célèbres avec une seule image, inscrite dans la
mémoire collective du monde civilisé comme Le
soldat espagnol mourant de Capa. Plus proches
de nous, Richard Avedon et sa désormais photo
culte Dovima et les éléphants. » Lui-même
semble aujourd’hui convaincu que cet art de
l’image fait partie de son existence. « Je ne vois
plus la vie sans elle, comme s’il s’agissait d’un
pinceau ou d’un crayon. Je regarde le monde et la
mode avec l’œil de la caméra. Cela me donne,
dans mon travail de base, un détachement
critique qui m’aide plus que je ne l’aurais jamais
soupçonné. »
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Picture of Dorian Gray. His acrylic prints on
canvas in his Tribute to Feininger, a German
painter and engraver from the first half of the 20 th
century, unleash his penchant for derision and
staging. We find not only the lover of fashion but
also the lover of books and great texts,
symbolised by two installations, Daphnis and
Chloe and The Voyage of Ulysses. Karl Lagerfeld
might be attached to the present, but he is never
very far from the past. He says he admires
“photographers who became famous with just one
picture that is engraved in the collective memory
of the civilised world, such as The Dying Spanish
Soldier by Capa. And closer to home, there is
Richard Avedon and his now cult photograph of
Dovima with Elephants.” Today, he seems to be
convinced that this photographic art is a part of
his existence. “I cannot imagine life without it, as
if it were a brush or a pencil. I look at the world
and at fashion with the eye of the camera. This
gives me critical detachment in my core work that
helps me more than I ever would have suspected.”