Enigma is challenging.
Each piece is an antechamber, a waiting area where we are patiently awaited. Our secret and personal artwork interpretation, our communication with it and confrontation with ourselves make of it a unique work since enriched and renewed by the multitude of possible decodings. Each piece is a projection of an elsewhere produced by one’s thought, imagination and desire. Therefore, the work is in opposition to concept and time because it urges us to embrace the present so that we are fully focused on observation and dialogue.

Jean-Michel Fauquet shows to everyone the artist's great need to make forms happen. Their production due to succession of practices such as drawing, sculpture, painting and photography serves him to express what language cannot. The unusual forms (sculptures) confront with ordinary territories (landscapes) and sketch worlds (drawings) to invoke the off-screen. The essential is elsewhere. Jean-Michel Fauquet stops “working on a photography when it touches on reality”. And if once André Breton said “stop wanting me elsewhere”; Jean-Michel Fauquet, in his turn, constantly desires an elsewhere. Maybe, the ours. At least, the one where everyone can freely adjust his own access to the world.

As for his own world, Jean-Michel Fauquet creates it like an alternate reality in a real research laboratory. Creation isan endeavor. Involvement is total. Whether it is about shots in a darkroom or enlarging films on his own to enhance them after with oil and wax, or making sculptural forms from simple raw material, the studio becomes an arena of a fraternal and solitary struggle to make a form happen, a tension, a universe obeying the greatest artistic excellence. Since although the form construction or setup preparation are an integral part of creative process, the Jean-Michel's universe does not end there but just begins.

Jean-Michel Fauquet makes us think of a place, a beginning of a story where the essential is, perhaps, not so much an escape as a serene encounter with reality.

Audrey Bazin


Born in 1950. Lives & works in Paris.


- The Lost Hills, La Galerie Particulière, Paris

- Musée de la photographie Charles Nègre, Nice

- Musée de la Vallée de la Creuse, Eguzon

- Galerie Claude Bernard, Paris
- Traces of being, galerie WILLAS contemporary, Oslo, Norway

- L’Oeil du Signe, Maison européenne de la photographie, Paris
- Galerie Conrads, Düsseldorf, Germany

- Le Grand Séparateur, Rencontres Photographiques d’Arles
- Grande Chaudronnerie, Paris Photo, Paris

- Poids et mesures de l’obscur, Maison d’art Bernard Anthonioz, Nogent-sur-Marne

- Le Grand Séparateur, Galerie Pierre Brullé, Paris
- Images telluriques, Base sous-marine, Bordeaux

- Château de Tours

- Kaïros, Haim Chanin Fine Arts, New York, USA

- M.T.P. - Le Festin de Balthazar, Galerie Pierre Brullé, Paris

- Alliance Française, Sapporo, Japan

- TICAV, Taipei, Taiwan
- Galerie Pennings, Eindhoven, The Netherlands

- Le Chien Noir, Galerie Pierre Brullé, Paris

- Centre des Arts, Enghien-les-Bains
- Maison des Arts, Conches

- Galerie Pierre Brullé, Paris

- Galerie Pierre Brullé, Paris

- Rencontres photographiques, Solignac

- Galerie Pierre Brullé, Paris

- ODDC, Saint-Brieux


- Paris Photo, Grand Palais, Paris

- Photos, Galerie Claude Bernard, Paris

- Confrontation, Galerie Le Minautore, Paris
- APC Pékin, China

- Autoportraits 1929-2010, Galerie le Minautore, Paris
- APC Lishui, China
- Taipei Art Photo Show, Expo Dome Tapei, Taiwan
- Paris Photo, Galerie VU, Grand Palais, Paris

- L’arbre et le photographe, ENSBA, Paris
- Paris Photo, Galerie VU, Grand Palais, Paris

- Man Ray, Musée d’Art Moderne de Séoul, Korea

- Masks, Sungkok Museum, Korea

- Art Paris, Galerie Haim Chanin, Grand Palais, Paris

- Art Paris, Galerie Haim Chanin, Grand Palais, Paris

- Le Monde est rond, Espace de l’art concret, Mouans-Sartoux

- Les Escargots se traînent méchamment, Galerie Luc Queyrel, Paris

- Galerie Pierre Brullé, Paris
(avec Jean-Claude Bélégou, Régine Cirotteau et Jean Yves Cousseau)

- Galerie Pierre Brullé, Paris
(avec Régine Cirotteau, Jean Yves Cousseau, José Ferrero et Caroline Feyt)

- Galerie Serge Aboukrat, Paris

- Biomorphies : la Beauté Organique, Galerie Pierre Brullé, Paris
- Photographie au présent, Bibliothèque nationale, Paris
- Qu’est-ce qu’une route ?, Maison européenne de la photographie, Paris

MONOGRAPHS (selection)

- Monts perdus, The(M) Editions, 2018
- Le Chien Noir, Filigranes, 2013
- Mes yeux sont d’aveugles ciels, Filigranes, 2012
- Le Mont Né, Filigranes, 2011
- Poids et mesures de l’obscur, Maison d’art Bernard Anthonioz, Nogent-sur-Marne, texte d’Annie Le Brun, 2011
- Le Grand Séparateur, Filigranes, 2010

BIBLIOGRAPHY (selection)

- ZIP (Zones d’Intervention Précaire), avec Francis Cohen, Filigranes, 2009
- Traviole n°15, Pierre Bergounioux
- Catalogue exposition Galerie Pierre Brullé, Paris, texte de Pierre Brullé, 2010
- «Jean-Michel Fauquet», Judith Brouste, artpress, n° 368, juin 2010
- Singeries pour Jacques Dupin, Francis Cohen, 2010
- Catalogue exposition Château de Tours, avec Pierre Bergounioux, 2008
- Kaïros de Jean Daive et Positive into negative de Lyle Rexer, cat. Haim Chanin Fine Arts, texte de Jean Daive, 2007
- M.T.P. - Le Festin de Balthazar, Pierre Brullé, texte de Francis Cohen, 2006
- «L’art et la matière de Jean-Michel Fauquet», Dominique Charnay, Le Cahier dessiné, n°4, Buchet Chastel, 2004
- «Les objets telluriques de Jean-Michel Fauquet», Jacqueline Caux, artpress, n°296, décembre 2003
- Le Chien noir, Pierre Brullé, texte de Jacques Laurans, 2003
- Ordalies, texte de Pierre Bergounioux, Filigranes, 2002
- Chronique du Carré, Francis Cohen, Fin, n° 9, Pierre Brullé, 2001
- Grande Nuit de Toussaint, texte de Sylvie Germain, Le Temps qu’il fait, 2000
- Au jour consumé, texte de Pierre Bergounioux, Filigranes, 1995
- Stravaganza, texte de Bernard Delvaille, Fata Morgana, 1994
- La Multiplication photographique, Fonds national d’art contemporain, 1988


- Iddu, l’atelier de Jean-Michel Fauquet, d’Henry Colomer (52’)
- Retour à la base, d’Emérance Dubas (12’)
- Ouvre tes yeux, d’Anne Kerner (15’)

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