Head Box is not the representation of a space but a real space that remains in the domain of sculpture which the artist develops in parallel with his photographic practice. Created for an exhibition in Kitakyushu in Japan, it is painted green, a color that symbolizes life and creation in Japanese culture. Even though we are confronted with a hollow presence, this is above all a space to lodge a body in the vertical posture of the living. This form can appear like a refuge – an isolating booth – that allows one to be confronted with one's self, to construct a mental space.
On a piece of paper, the artist has traced two loops in black crayon and placed two eyes where the lines intersect. Cut out of the same photograph, the eyes belong to the same gaze. The first asset of a slip knot is its simplicity, it basically requires a small length of rope. This collage is “apragmatic drawing, a kind of instructions manual” (« Paragraphes pour Jean-Luc Moulène”, ibid.) of Moulène's work and photographs. Indeed, doesn't one commonly speak of the photographer's gaze?
It rains, Paris, 1st July 2000, which could be the refrain of a song, is the title of a photograph of a minimal moment, the vision of a Parisian pedestrian, a cut flower lying on the pavement covered in rain drops. Is this moment captured by chance or a mise en scène? There is a sort of hiatus in the image; the planes – motif and background – connect nature in full bloom, pure, fragile, ephemeral with the grey weighty tarmac. The calm of the raindrops in It rains, Paris, 1st July 2000 contrasts with the gushing in La Fontaine des Amoureux, Paris, 3 avril 2006.
After training in literature and working in advertising, Jean-Luc Moulène became known in the 1990s for his 'documentary' photographic practice. His images could be considered as studies of natural and cultural phenomena; the Objets de grève ( Strike objects) series (1999) documents objects made in factories during social protests. Moulène uses the codes of media images and diverts them to liberate the gaze and produce a new imaginary. This poetic tactic is manifest in the series called Disjonctions, in which Moulène photographs still lives, portraits, daily urban scenes. The notion of disjunction, which can be interpreted in the grammatical sense ('or', 'either... either...') or in terms of logic (an alternative in a dilemma), is manifest in the image by the disunity of the elements in the composition. The artist is not just a photographer, he increasingly creates relations with drawing, sculpture, objects, texts and newspapers. As a counterpoint, when asked what unites his work, the artist responds that: "An absurd evidence, a horrible revelation,a burst of laughter..." (Interview with Briony Fer, « Chaque quelconque », ibidem.) His works tend towards evocation rather than fixed meaning, inviting the spectators to invent their own tales in this “community of storytellers and translators” (Jacques Rancière, The Emancipated Spectator).
Born in 1955 in Reims, France. Lives and works in Paris.