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04.04.09 > 14.06.09 | BPS22
FR : L'oeuvre photographique de Frédéric Lefever se caractérise par une attention presque exclusive aux constructions, individuelles ou collectives. Toutefois, son intérêt se focalise sur des réalisations qu'il aime à qualifier de vernaculaires. Comme il l'explique lui-même, il renonce à saisir l'architecture pittoresque, comme l'architecture de prestige (par sa taille, sa fonction, voire son auteur), l'architecture industrielle (usine, friche ou logements ouvriers), ou encore l'architecture urbaine. Son choix se porte plutôt sur des constructions "sans importance, mais qui portent en elles une marque particulière, frappante". Loin d'être des typologies architecturales, ses photographies sont des "portraits" d'individus que l'on ne voit pas, mais dont la présence est perceptible à travers des détails, des couleurs, des agencements, etc.
EN : One of the main features of Frederic Lefever's photographs is his almost exclusive attention for the individual and collective constructions. His interest is focused on creations that he personnally likes to call "vernacular". He says he deliberately avoids picturesque architecture, such as prestige architecture (buildings that are prestigious for their size, function or designer), industrial architecture (factories, waste land or workmen's houses), or urban architecture. Instead, he prefers constructions "without importance, but with a particular, striking mark". His photographs are not architectural typologies but rather 'portraits of individuals whom we don't see but whose presence is perceived by the details, colours and arrangaments, etc.
EN : One of the main features of Frederic Lefever's photographs is his almost exclusive attention for the individual and collective constructions. His interest is focused on creations that he personnally likes to call "vernacular". He says he deliberately avoids picturesque architecture, such as prestige architecture (buildings that are prestigious for their size, function or designer), industrial architecture (factories, waste land or workmen's houses), or urban architecture. Instead, he prefers constructions "without importance, but with a particular, striking mark". His photographs are not architectural typologies but rather 'portraits of individuals whom we don't see but whose presence is perceived by the details, colours and arrangaments, etc.
