Ernest Pignon-Ernest
For now more than thirty years, Ernest Pignon-Ernest covers the city walls with his images.
His powerfull drawings of ample lay out bring back to the surface traces of a history, of a burried past, of a hidden topic that crash with the contemporary world, the every day life.
sovereign, his series are declinable depending on places and themes: South Africa andAIDS 鈥� Rimbaud (Paris & Charleville-M茅zi猫res, 1978-1979) 鈥� the call-box and the homeless (behind the glass, 1997-1999) 鈥� Jean Genet (Brest, 2006) 鈥� Naples and Caravaggio (Naples, 1988 鈥� 1995).
Ephemeral by essence, those city walls fitting up naturally drove the artist to photography for information and evidence of his work.
First a document ,little by little, the photography became a work of art of it鈥檚 own right.
So the artist, who meets photography incidentally, will then practise it as a 鈥� famous amateur鈥� before seizing it thoroughly to make it the centre piece of his work.
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For now more than thirty years, Ernest Pignon-Ernest covers the city walls with his images.
His powerfull drawings of ample lay out bring back to the surface traces of a history, of a burried past, of a hidden topic that crash with the contemporary world, the every day life.
sovereign, his series are declinable depending on places and themes: South Africa andAIDS 鈥� Rimbaud (Paris & Charleville-M茅zi猫res, 1978-1979) 鈥� the call-box and the homeless (behind the glass, 1997-1999) 鈥� Jean Genet (Brest, 2006) 鈥� Naples and Caravaggio (Naples, 1988 鈥� 1995).
Ephemeral by essence, those city walls fitting up naturally drove the artist to photography for information and evidence of his work.
First a document ,little by little, the photography became a work of art of it鈥檚 own right.
So the artist, who meets photography incidentally, will then practise it as a 鈥� famous amateur鈥� before seizing it thoroughly to make it the centre piece of his work.
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