Né en 1964 à Toulouse
Vit et travaille à Lyon

ensemble de dessins, 2020

petits formats

Visite au belvédère, 2019

pigments, pastels secs et crayons sur papier Fabriano 300 g

70 x 100 cm 3500 euros encadré

L’idée de tournage maritime, 2019

pigments, pastels secs et crayons sur papier, 50 x 65 cm

2300 euros encadré

Le tournage abandonné, 2019

Pigments, pastels secs et crayons sur papier, 110 x 150 cm
5500 euros encadré

Transmission dans le lieu d, 2018

mine de plomb, graphite, pigment, 55 x 40 cm

1500 euros

Naissance d’une chambre obscure, 2018

mine de plomb, graphite, crayons, 50 x 65 cm

1800 euros

Apparition et spodomancie dans le lieu d, 2018

crayons, pierre noire, 75 x 100 cm

2500 euros

Toi(t), 2018

lithographie, 40 x 30 cm

Rêve d’exposition-situation, 2017

feutres à l’alcool, 80 x 120 cm

Architectures fantômes, 2016

feutres sur papier, 56 x 50 cm

 

Paysages manquants, 2016

acryliques sur papier, 75 x 110 cm

La fille aux loup,  2015

ensemble de dessins

Begin the begin, 2014

dessin, 125 x 162 cm

Le bleu du ciel, 2014

dessin, 87 x 57 cm

Parlante et vacante, 2014

dessin, 51 x 53 cm

Aït, 2012

dessin à l’encre, 65 x 50 cm

Helgoland, 2012

dessin à l’encre, 65 x 50 cm

Géométrie-fiction, 2011

éclats de cartes postales découpées, assemblées et marouflées sur feuille de dessin

Le nocturne, 2009

lithographie, 20 ex, 56 x 69 cm

Le crâne, 2009

lithographie, 20 ex, 56 x 69 cm

Celui qui s’avance, 2009

lithographie, 20 ex, 56 x 69 cm

XXX, 2008

stylo bille sur , 21 x 29.7 cm

Le jeu du château nain, 2007

crayon, 160 x 120 cm

L’atelier orange, 2004

crayons sur papier, 42 x 59.4 cm

x

Sous le regard
Par Jérémy Liron, 2012

 

Il est toujours étonnant de constater comme les choses les mieux établies, les plus fermes en apparence, en viennent parfois à gondoler, à onduler sous le regard pour se transfigurer et échapper finalement à ce en quoi on voulait les enfermer. Que l’on regarde longuement : c’est l’instabilité du monde qui se révèle à nous. Car les images, malgré leur fixité apparente, défient le regard dans ce qu’il pose de certitudes, dans son autorité. Elles font vaciller les jugements catégoriques qui construisent le monde, ceux-là que nous dressons à chaque instant pour s’y appuyer comme les chauves-souris sondent de leurs cris les volumes de la nuit.

 

Les dessins de F. K. ont quelque chose de sec, d’aride parfois dans leur frontalité brute, dans les silhouettes dures qu’ils assènent. La ponctuation qu’ils dressent les fait ressembler un peu à des caractères frappés ; de ceux que l’on trouve de plus en plus rarement sur les tables à casiers d’un typographe ou sur les tipons et emporte-pièce des tapissiers.C’est que la noirceur du crayon ou de l’encre s’inscrit sur la clarté du papier en un motif compact quoique réservé par endroit et modulé dans ses ombres, si bien qu’on en viendra à parler de silhouettes mêlées, de motifs, presque d’idéogrammes ; et dans leurs confusions végétales, anthropomorphes ou géométriques, rêveuses ou construites, de chimères.

 

Mais voilà, aussitôt recensées les parties, observées les textures et jugé de l’ensemble, le sentiment bascule. Les certitudes faseyent, avec notre aplomb, et offrent à voir un monde autre. Le dessin vous happe. On en vient à cette étrange sensation que dans votre regard, c’est l’image qui vous fixe, muettement. Est-ce le motif de la fenêtre, de l’ouverture qui fait office de seuil et porte vers son au-delà ? Le jeu enveloppant des ombres ? Les formes qui, dans leurs convulsions, vous deviennent attachantes ? Ce n’est pas tant l’oeil qui s’ajuste au monde que le regard, c’est à dire la relation que l’on entretient avec le visible. Progressivement, les dessins glissent de leur réalité froide, matérielle, vers une relation particulière qui en fait un abîme ou une figure amicale. Ça vous arrive parfois dans les couloirs des hôtels, à attendre dans des chambres ordinaires en fixant une de ces reproductions habituelles de peintres impressionnistes : un semeur de Van Gogh est venu à moi dans des circonstances analogues. Michelet avait déjà noté dans La Mer, comme l’immobilité morne d’une berge peut révéler, pour peu qu’on y arrête longuement le regard, une vie grouillante et riche. On en vient à se demander si les images, pareilles au Portrait de Dorian Gray de Wilde, n’en viendraient pas à vieillir à votre place pour peu que vous fassiez durer longuement le regard…

> Inside

Frédéric Khodja

Oui certainement, oui absolument, maintenant absolument

1er juin > 31 juillet 2017

 

The heritage of gestures that makes us draw what disappears – the remains of landscapes in the space of small volumes of painted wood – traced with colours in memory of forgetfulness and lacks in the form of reserves in the ghostly drawings of architectures surveyed in the dream arranged in episodes as proposals of answers

> Inside

Frédéric Khodja

Oui certainement, oui absolument, maintenant absolument

1er juin > 31 juillet 2017

 

The heritage of gestures that makes us draw what disappears – the remains of landscapes in the space of small volumes of painted wood – traced with colours in memory of forgetfulness and lacks in the form of reserves in the ghostly drawings of architectures surveyed in the dream arranged in episodes as proposals of answers

> Inside

Frédéric Khodja

Oui certainement, oui absolument, maintenant absolument

1er juin > 31 juillet 2017

 

The heritage of gestures that makes us draw what disappears – the remains of landscapes in the space of small volumes of painted wood – traced with colours in memory of forgetfulness and lacks in the form of reserves in the ghostly drawings of architectures surveyed in the dream arranged in episodes as proposals of answers

> Inside

Frédéric Khodja

Oui certainement, oui absolument, maintenant absolument

1er juin > 31 juillet 2017

 

The heritage of gestures that makes us draw what disappears – the remains of landscapes in the space of small volumes of painted wood – traced with colours in memory of forgetfulness and lacks in the form of reserves in the ghostly drawings of architectures surveyed in the dream arranged in episodes as proposals of answers

> Inside

Frédéric Khodja

Oui certainement, oui absolument, maintenant absolument

1er juin > 31 juillet 2017

 

The heritage of gestures that makes us draw what disappears – the remains of landscapes in the space of small volumes of painted wood – traced with colours in memory of forgetfulness and lacks in the form of reserves in the ghostly drawings of architectures surveyed in the dream arranged in episodes as proposals of answers

> Inside

Frédéric Khodja

Oui certainement, oui absolument, maintenant absolument

1er juin > 31 juillet 2017

 

The heritage of gestures that makes us draw what disappears – the remains of landscapes in the space of small volumes of painted wood – traced with colours in memory of forgetfulness and lacks in the form of reserves in the ghostly drawings of architectures surveyed in the dream arranged in episodes as proposals of answers

> Inside

Frédéric Khodja

Oui certainement, oui absolument, maintenant absolument

1er juin > 31 juillet 2017

 

The heritage of gestures that makes us draw what disappears – the remains of landscapes in the space of small volumes of painted wood – traced with colours in memory of forgetfulness and lacks in the form of reserves in the ghostly drawings of architectures surveyed in the dream arranged in episodes as proposals of answers

> Inside

Frédéric Khodja

Oui certainement, oui absolument, maintenant absolument

1er juin > 31 juillet 2017

 

The heritage of gestures that makes us draw what disappears – the remains of landscapes in the space of small volumes of painted wood – traced with colours in memory of forgetfulness and lacks in the form of reserves in the ghostly drawings of architectures surveyed in the dream arranged in episodes as proposals of answers

> Inside

Frédéric Khodja

Oui certainement, oui absolument, maintenant absolument

1er juin > 31 juillet 2017

 

The heritage of gestures that makes us draw what disappears – the remains of landscapes in the space of small volumes of painted wood – traced with colours in memory of forgetfulness and lacks in the form of reserves in the ghostly drawings of architectures surveyed in the dream arranged in episodes as proposals of answers

> Inside

Frédéric Khodja

Oui certainement, oui absolument, maintenant absolument

1er juin > 31 juillet 2017

 

The heritage of gestures that makes us draw what disappears – the remains of landscapes in the space of small volumes of painted wood – traced with colours in memory of forgetfulness and lacks in the form of reserves in the ghostly drawings of architectures surveyed in the dream arranged in episodes as proposals of answers

> Inside

Frédéric Khodja

Oui certainement, oui absolument, maintenant absolument

1er juin > 31 juillet 2017

 

The heritage of gestures that makes us draw what disappears – the remains of landscapes in the space of small volumes of painted wood – traced with colours in memory of forgetfulness and lacks in the form of reserves in the ghostly drawings of architectures surveyed in the dream arranged in episodes as proposals of answers

> Inside

Frédéric Khodja

Oui certainement, oui absolument, maintenant absolument

1er juin > 31 juillet 2017

 

The heritage of gestures that makes us draw what disappears – the remains of landscapes in the space of small volumes of painted wood – traced with colours in memory of forgetfulness and lacks in the form of reserves in the ghostly drawings of architectures surveyed in the dream arranged in episodes as proposals of answers

> Inside

Frédéric Khodja

Oui certainement, oui absolument, maintenant absolument

1er juin > 31 juillet 2017

 

The heritage of gestures that makes us draw what disappears – the remains of landscapes in the space of small volumes of painted wood – traced with colours in memory of forgetfulness and lacks in the form of reserves in the ghostly drawings of architectures surveyed in the dream arranged in episodes as proposals of answers

> Inside

Frédéric Khodja

Oui certainement, oui absolument, maintenant absolument

1er juin > 31 juillet 2017

 

The heritage of gestures that makes us draw what disappears – the remains of landscapes in the space of small volumes of painted wood – traced with colours in memory of forgetfulness and lacks in the form of reserves in the ghostly drawings of architectures surveyed in the dream arranged in episodes as proposals of answers

> Inside

Frédéric Khodja

Oui certainement, oui absolument, maintenant absolument

1er juin > 31 juillet 2017

 

The heritage of gestures that makes us draw what disappears – the remains of landscapes in the space of small volumes of painted wood – traced with colours in memory of forgetfulness and lacks in the form of reserves in the ghostly drawings of architectures surveyed in the dream arranged in episodes as proposals of answers

> Inside

Frédéric Khodja

Oui certainement, oui absolument, maintenant absolument

1er juin > 31 juillet 2017

 

The heritage of gestures that makes us draw what disappears – the remains of landscapes in the space of small volumes of painted wood – traced with colours in memory of forgetfulness and lacks in the form of reserves in the ghostly drawings of architectures surveyed in the dream arranged in episodes as proposals of answers

> Inside

Frédéric Khodja

Oui certainement, oui absolument, maintenant absolument

1er juin > 31 juillet 2017

 

The heritage of gestures that makes us draw what disappears – the remains of landscapes in the space of small volumes of painted wood – traced with colours in memory of forgetfulness and lacks in the form of reserves in the ghostly drawings of architectures surveyed in the dream arranged in episodes as proposals of answers

> Inside

Frédéric Khodja

Oui certainement, oui absolument, maintenant absolument

1er juin > 31 juillet 2017

 

The heritage of gestures that makes us draw what disappears – the remains of landscapes in the space of small volumes of painted wood – traced with colours in memory of forgetfulness and lacks in the form of reserves in the ghostly drawings of architectures surveyed in the dream arranged in episodes as proposals of answers

> Inside

Frédéric Khodja

Oui certainement, oui absolument, maintenant absolument

1er juin > 31 juillet 2017

 

The heritage of gestures that makes us draw what disappears – the remains of landscapes in the space of small volumes of painted wood – traced with colours in memory of forgetfulness and lacks in the form of reserves in the ghostly drawings of architectures surveyed in the dream arranged in episodes as proposals of answers

> Inside

Frédéric Khodja

Oui certainement, oui absolument, maintenant absolument

1er juin > 31 juillet 2017

 

The heritage of gestures that makes us draw what disappears – the remains of landscapes in the space of small volumes of painted wood – traced with colours in memory of forgetfulness and lacks in the form of reserves in the ghostly drawings of architectures surveyed in the dream arranged in episodes as proposals of answers

> Inside

Frédéric Khodja

Oui certainement, oui absolument, maintenant absolument

1er juin > 31 juillet 2017

 

The heritage of gestures that makes us draw what disappears – the remains of landscapes in the space of small volumes of painted wood – traced with colours in memory of forgetfulness and lacks in the form of reserves in the ghostly drawings of architectures surveyed in the dream arranged in episodes as proposals of answers

> Inside

Frédéric Khodja

Oui certainement, oui absolument, maintenant absolument

1er juin > 31 juillet 2017

 

The heritage of gestures that makes us draw what disappears – the remains of landscapes in the space of small volumes of painted wood – traced with colours in memory of forgetfulness and lacks in the form of reserves in the ghostly drawings of architectures surveyed in the dream arranged in episodes as proposals of answers

> Inside

Frédéric Khodja

Oui certainement, oui absolument, maintenant absolument

1er juin > 31 juillet 2017

 

The heritage of gestures that makes us draw what disappears – the remains of landscapes in the space of small volumes of painted wood – traced with colours in memory of forgetfulness and lacks in the form of reserves in the ghostly drawings of architectures surveyed in the dream arranged in episodes as proposals of answers

> Inside

Frédéric Khodja

Oui certainement, oui absolument, maintenant absolument

1er juin > 31 juillet 2017

 

The heritage of gestures that makes us draw what disappears – the remains of landscapes in the space of small volumes of painted wood – traced with colours in memory of forgetfulness and lacks in the form of reserves in the ghostly drawings of architectures surveyed in the dream arranged in episodes as proposals of answers

> Inside

Frédéric Khodja

Oui certainement, oui absolument, maintenant absolument

1er juin > 31 juillet 2017

 

The heritage of gestures that makes us draw what disappears – the remains of landscapes in the space of small volumes of painted wood – traced with colours in memory of forgetfulness and lacks in the form of reserves in the ghostly drawings of architectures surveyed in the dream arranged in episodes as proposals of answers

> Inside

Frédéric Khodja

Oui certainement, oui absolument, maintenant absolument

1er juin > 31 juillet 2017

 

The heritage of gestures that makes us draw what disappears – the remains of landscapes in the space of small volumes of painted wood – traced with colours in memory of forgetfulness and lacks in the form of reserves in the ghostly drawings of architectures surveyed in the dream arranged in episodes as proposals of answers

> Inside

Frédéric Khodja

Oui certainement, oui absolument, maintenant absolument

1er juin > 31 juillet 2017

 

The heritage of gestures that makes us draw what disappears – the remains of landscapes in the space of small volumes of painted wood – traced with colours in memory of forgetfulness and lacks in the form of reserves in the ghostly drawings of architectures surveyed in the dream arranged in episodes as proposals of answers

> Inside

Frédéric Khodja

Oui certainement, oui absolument, maintenant absolument

1er juin > 31 juillet 2017

 

The heritage of gestures that makes us draw what disappears – the remains of landscapes in the space of small volumes of painted wood – traced with colours in memory of forgetfulness and lacks in the form of reserves in the ghostly drawings of architectures surveyed in the dream arranged in episodes as proposals of answers

> Inside

Frédéric Khodja

Oui certainement, oui absolument, maintenant absolument

1er juin > 31 juillet 2017

 

The heritage of gestures that makes us draw what disappears – the remains of landscapes in the space of small volumes of painted wood – traced with colours in memory of forgetfulness and lacks in the form of reserves in the ghostly drawings of architectures surveyed in the dream arranged in episodes as proposals of answers

> Inside

Frédéric Khodja

Oui certainement, oui absolument, maintenant absolument

1er juin > 31 juillet 2017

 

The heritage of gestures that makes us draw what disappears – the remains of landscapes in the space of small volumes of painted wood – traced with colours in memory of forgetfulness and lacks in the form of reserves in the ghostly drawings of architectures surveyed in the dream arranged in episodes as proposals of answers

> Inside

Frédéric Khodja

Oui certainement, oui absolument, maintenant absolument

1er juin > 31 juillet 2017

 

The heritage of gestures that makes us draw what disappears – the remains of landscapes in the space of small volumes of painted wood – traced with colours in memory of forgetfulness and lacks in the form of reserves in the ghostly drawings of architectures surveyed in the dream arranged in episodes as proposals of answers

> Inside

Frédéric Khodja

Oui certainement, oui absolument, maintenant absolument

1er juin > 31 juillet 2017

 

The heritage of gestures that makes us draw what disappears – the remains of landscapes in the space of small volumes of painted wood – traced with colours in memory of forgetfulness and lacks in the form of reserves in the ghostly drawings of architectures surveyed in the dream arranged in episodes as proposals of answers

> Inside

Frédéric Khodja

Oui certainement, oui absolument, maintenant absolument

1er juin > 31 juillet 2017

 

The heritage of gestures that makes us draw what disappears – the remains of landscapes in the space of small volumes of painted wood – traced with colours in memory of forgetfulness and lacks in the form of reserves in the ghostly drawings of architectures surveyed in the dream arranged in episodes as proposals of answers

> Inside

Frédéric Khodja

Oui certainement, oui absolument, maintenant absolument

1er juin > 31 juillet 2017

 

The heritage of gestures that makes us draw what disappears – the remains of landscapes in the space of small volumes of painted wood – traced with colours in memory of forgetfulness and lacks in the form of reserves in the ghostly drawings of architectures surveyed in the dream arranged in episodes as proposals of answers

> Inside

Frédéric Khodja

Oui certainement, oui absolument, maintenant absolument

1er juin > 31 juillet 2017

 

The heritage of gestures that makes us draw what disappears – the remains of landscapes in the space of small volumes of painted wood – traced with colours in memory of forgetfulness and lacks in the form of reserves in the ghostly drawings of architectures surveyed in the dream arranged in episodes as proposals of answers

> Inside

Frédéric Khodja

Le ciel est si peint que je ne le regarde pas

07 juin > 30 juillet 2014

An image exhibit. Blue drawings. Drawings that make the place speak of blue. Drawings that speak of crystallizations, walls, atlases, spaces, fictions, geometries. A constellation of drawings (…) The idea, to accompany the exhibition of images, of a blue newspaper that would collect presences. Documents that are important to me, which help me to construct my drawings; reproductions of drawings in the exhibition and a text. Edit a Blue Labyrinth where the images and text are in a space between the hands

> Inside

Frédéric Khodja

Le ciel est si peint que je ne le regarde pas

07 juin > 30 juillet 2014

An image exhibit. Blue drawings. Drawings that make the place speak of blue. Drawings that speak of crystallizations, walls, atlases, spaces, fictions, geometries. A constellation of drawings (…) The idea, to accompany the exhibition of images, of a blue newspaper that would collect presences. Documents that are important to me, which help me to construct my drawings; reproductions of drawings in the exhibition and a text. Edit a Blue Labyrinth where the images and text are in a space between the hands

> Inside

Frédéric Khodja

Le ciel est si peint que je ne le regarde pas

07 juin > 30 juillet 2014

An image exhibit. Blue drawings. Drawings that make the place speak of blue. Drawings that speak of crystallizations, walls, atlases, spaces, fictions, geometries. A constellation of drawings (…) The idea, to accompany the exhibition of images, of a blue newspaper that would collect presences. Documents that are important to me, which help me to construct my drawings; reproductions of drawings in the exhibition and a text. Edit a Blue Labyrinth where the images and text are in a space between the hands

> Inside

Frédéric Khodja

Le ciel est si peint que je ne le regarde pas

07 juin > 30 juillet 2014

An image exhibit. Blue drawings. Drawings that make the place speak of blue. Drawings that speak of crystallizations, walls, atlases, spaces, fictions, geometries. A constellation of drawings (…) The idea, to accompany the exhibition of images, of a blue newspaper that would collect presences. Documents that are important to me, which help me to construct my drawings; reproductions of drawings in the exhibition and a text. Edit a Blue Labyrinth where the images and text are in a space between the hands

> Inside

Frédéric Khodja

Le ciel est si peint que je ne le regarde pas

07 juin > 30 juillet 2014

An image exhibit. Blue drawings. Drawings that make the place speak of blue. Drawings that speak of crystallizations, walls, atlases, spaces, fictions, geometries. A constellation of drawings (…) The idea, to accompany the exhibition of images, of a blue newspaper that would collect presences. Documents that are important to me, which help me to construct my drawings; reproductions of drawings in the exhibition and a text. Edit a Blue Labyrinth where the images and text are in a space between the hands

> Inside

Frédéric Khodja

Le ciel est si peint que je ne le regarde pas

07 juin > 30 juillet 2014

An image exhibit. Blue drawings. Drawings that make the place speak of blue. Drawings that speak of crystallizations, walls, atlases, spaces, fictions, geometries. A constellation of drawings (…) The idea, to accompany the exhibition of images, of a blue newspaper that would collect presences. Documents that are important to me, which help me to construct my drawings; reproductions of drawings in the exhibition and a text. Edit a Blue Labyrinth where the images and text are in a space between the hands

> Inside

Frédéric Khodja

Le ciel est si peint que je ne le regarde pas

07 juin > 30 juillet 2014

An image exhibit. Blue drawings. Drawings that make the place speak of blue. Drawings that speak of crystallizations, walls, atlases, spaces, fictions, geometries. A constellation of drawings (…) The idea, to accompany the exhibition of images, of a blue newspaper that would collect presences. Documents that are important to me, which help me to construct my drawings; reproductions of drawings in the exhibition and a text. Edit a Blue Labyrinth where the images and text are in a space between the hands

> Inside

Frédéric Khodja

Le ciel est si peint que je ne le regarde pas

07 juin > 30 juillet 2014

An image exhibit. Blue drawings. Drawings that make the place speak of blue. Drawings that speak of crystallizations, walls, atlases, spaces, fictions, geometries. A constellation of drawings (…) The idea, to accompany the exhibition of images, of a blue newspaper that would collect presences. Documents that are important to me, which help me to construct my drawings; reproductions of drawings in the exhibition and a text. Edit a Blue Labyrinth where the images and text are in a space between the hands

> Inside

Frédéric Khodja

Le ciel est si peint que je ne le regarde pas

07 juin > 30 juillet 2014

An image exhibit. Blue drawings. Drawings that make the place speak of blue. Drawings that speak of crystallizations, walls, atlases, spaces, fictions, geometries. A constellation of drawings (…) The idea, to accompany the exhibition of images, of a blue newspaper that would collect presences. Documents that are important to me, which help me to construct my drawings; reproductions of drawings in the exhibition and a text. Edit a Blue Labyrinth where the images and text are in a space between the hands

> Inside

Frédéric Khodja

Le ciel est si peint que je ne le regarde pas

07 juin > 30 juillet 2014

An image exhibit. Blue drawings. Drawings that make the place speak of blue. Drawings that speak of crystallizations, walls, atlases, spaces, fictions, geometries. A constellation of drawings (…) The idea, to accompany the exhibition of images, of a blue newspaper that would collect presences. Documents that are important to me, which help me to construct my drawings; reproductions of drawings in the exhibition and a text. Edit a Blue Labyrinth where the images and text are in a space between the hands

> Inside

Frédéric Khodja

Le ciel est si peint que je ne le regarde pas

07 juin > 30 juillet 2014

An image exhibit. Blue drawings. Drawings that make the place speak of blue. Drawings that speak of crystallizations, walls, atlases, spaces, fictions, geometries. A constellation of drawings (…) The idea, to accompany the exhibition of images, of a blue newspaper that would collect presences. Documents that are important to me, which help me to construct my drawings; reproductions of drawings in the exhibition and a text. Edit a Blue Labyrinth where the images and text are in a space between the hands

> Inside

Frédéric Khodja

Le ciel est si peint que je ne le regarde pas

07 juin > 30 juillet 2014

An image exhibit. Blue drawings. Drawings that make the place speak of blue. Drawings that speak of crystallizations, walls, atlases, spaces, fictions, geometries. A constellation of drawings (…) The idea, to accompany the exhibition of images, of a blue newspaper that would collect presences. Documents that are important to me, which help me to construct my drawings; reproductions of drawings in the exhibition and a text. Edit a Blue Labyrinth where the images and text are in a space between the hands

> Inside

Frédéric Khodja

Le ciel est si peint que je ne le regarde pas

07 juin > 30 juillet 2014

An image exhibit. Blue drawings. Drawings that make the place speak of blue. Drawings that speak of crystallizations, walls, atlases, spaces, fictions, geometries. A constellation of drawings (…) The idea, to accompany the exhibition of images, of a blue newspaper that would collect presences. Documents that are important to me, which help me to construct my drawings; reproductions of drawings in the exhibition and a text. Edit a Blue Labyrinth where the images and text are in a space between the hands

> Inside

Frédéric Khodja

Le ciel est si peint que je ne le regarde pas

07 juin > 30 juillet 2014

An image exhibit. Blue drawings. Drawings that make the place speak of blue. Drawings that speak of crystallizations, walls, atlases, spaces, fictions, geometries. A constellation of drawings (…) The idea, to accompany the exhibition of images, of a blue newspaper that would collect presences. Documents that are important to me, which help me to construct my drawings; reproductions of drawings in the exhibition and a text. Edit a Blue Labyrinth where the images and text are in a space between the hands

> Inside

Frédéric Khodja

Le ciel est si peint que je ne le regarde pas

07 juin > 30 juillet 2014

An image exhibit. Blue drawings. Drawings that make the place speak of blue. Drawings that speak of crystallizations, walls, atlases, spaces, fictions, geometries. A constellation of drawings (…) The idea, to accompany the exhibition of images, of a blue newspaper that would collect presences. Documents that are important to me, which help me to construct my drawings; reproductions of drawings in the exhibition and a text. Edit a Blue Labyrinth where the images and text are in a space between the hands

> Inside

Frédéric Khodja

Dessins fiction

06 mars > 07 avril 2010

Frédéric Khodja’s graphic work is made up of images worked in pencil in layers, superimposing on paper like literary or iconographic layers made up of forms, ideas, fragments, derivations that come from previous drawings, a repertoire of images, or literary references of which he grasps an iconic dimension. As in Casares’ work, the corpus is thus constantly deployed in multiple productions, motifs are reworked, integrated into other structures, at the expense of details that disappear and are later exploited in different forms. The autonomy of each drawing is quite relative, it is essentially material, occupying a sheet of paper of a determined format. But it is erased by the fact that the drawing does not allow itself to be instantly penetrated by the gaze: the spectator must register in a temporality so that the image comes to him and he can understand its depths, the multiple subtleties, the movement at work within the work which does not immediately appear and which allows infinite extensions driven by personal references, the memory, or the imagination of the viewer…
(excerpt from Crimea Book #1, What Occupations on a Deserted Island, Gwilhem Perthuis)

 

> Inside

Frédéric Khodja

Dessins fiction

06 mars > 07 avril 2010

Frédéric Khodja’s graphic work is made up of images worked in pencil in layers, superimposing on paper like literary or iconographic layers made up of forms, ideas, fragments, derivations that come from previous drawings, a repertoire of images, or literary references of which he grasps an iconic dimension. As in Casares’ work, the corpus is thus constantly deployed in multiple productions, motifs are reworked, integrated into other structures, at the expense of details that disappear and are later exploited in different forms. The autonomy of each drawing is quite relative, it is essentially material, occupying a sheet of paper of a determined format. But it is erased by the fact that the drawing does not allow itself to be instantly penetrated by the gaze: the spectator must register in a temporality so that the image comes to him and he can understand its depths, the multiple subtleties, the movement at work within the work which does not immediately appear and which allows infinite extensions driven by personal references, the memory, or the imagination of the viewer…
(excerpt from Crimea Book #1, What Occupations on a Deserted Island, Gwilhem Perthuis)

 

> Inside

Frédéric Khodja

Dessins fiction

06 mars > 07 avril 2010

Frédéric Khodja’s graphic work is made up of images worked in pencil in layers, superimposing on paper like literary or iconographic layers made up of forms, ideas, fragments, derivations that come from previous drawings, a repertoire of images, or literary references of which he grasps an iconic dimension. As in Casares’ work, the corpus is thus constantly deployed in multiple productions, motifs are reworked, integrated into other structures, at the expense of details that disappear and are later exploited in different forms. The autonomy of each drawing is quite relative, it is essentially material, occupying a sheet of paper of a determined format. But it is erased by the fact that the drawing does not allow itself to be instantly penetrated by the gaze: the spectator must register in a temporality so that the image comes to him and he can understand its depths, the multiple subtleties, the movement at work within the work which does not immediately appear and which allows infinite extensions driven by personal references, the memory, or the imagination of the viewer…
(excerpt from Crimea Book #1, What Occupations on a Deserted Island, Gwilhem Perthuis)

 

> Inside

Frédéric Khodja

Dessins fiction

06 mars > 07 avril 2010

Frédéric Khodja’s graphic work is made up of images worked in pencil in layers, superimposing on paper like literary or iconographic layers made up of forms, ideas, fragments, derivations that come from previous drawings, a repertoire of images, or literary references of which he grasps an iconic dimension. As in Casares’ work, the corpus is thus constantly deployed in multiple productions, motifs are reworked, integrated into other structures, at the expense of details that disappear and are later exploited in different forms. The autonomy of each drawing is quite relative, it is essentially material, occupying a sheet of paper of a determined format. But it is erased by the fact that the drawing does not allow itself to be instantly penetrated by the gaze: the spectator must register in a temporality so that the image comes to him and he can understand its depths, the multiple subtleties, the movement at work within the work which does not immediately appear and which allows infinite extensions driven by personal references, the memory, or the imagination of the viewer…
(excerpt from Crimea Book #1, What Occupations on a Deserted Island, Gwilhem Perthuis)

 

> Inside

Frédéric Khodja

Dessins fiction

06 mars > 07 avril 2010

Frédéric Khodja’s graphic work is made up of images worked in pencil in layers, superimposing on paper like literary or iconographic layers made up of forms, ideas, fragments, derivations that come from previous drawings, a repertoire of images, or literary references of which he grasps an iconic dimension. As in Casares’ work, the corpus is thus constantly deployed in multiple productions, motifs are reworked, integrated into other structures, at the expense of details that disappear and are later exploited in different forms. The autonomy of each drawing is quite relative, it is essentially material, occupying a sheet of paper of a determined format. But it is erased by the fact that the drawing does not allow itself to be instantly penetrated by the gaze: the spectator must register in a temporality so that the image comes to him and he can understand its depths, the multiple subtleties, the movement at work within the work which does not immediately appear and which allows infinite extensions driven by personal references, the memory, or the imagination of the viewer…
(excerpt from Crimea Book #1, What Occupations on a Deserted Island, Gwilhem Perthuis)

 

> Inside

Frédéric Khodja

Dessins fiction

06 mars > 07 avril 2010

Frédéric Khodja’s graphic work is made up of images worked in pencil in layers, superimposing on paper like literary or iconographic layers made up of forms, ideas, fragments, derivations that come from previous drawings, a repertoire of images, or literary references of which he grasps an iconic dimension. As in Casares’ work, the corpus is thus constantly deployed in multiple productions, motifs are reworked, integrated into other structures, at the expense of details that disappear and are later exploited in different forms. The autonomy of each drawing is quite relative, it is essentially material, occupying a sheet of paper of a determined format. But it is erased by the fact that the drawing does not allow itself to be instantly penetrated by the gaze: the spectator must register in a temporality so that the image comes to him and he can understand its depths, the multiple subtleties, the movement at work within the work which does not immediately appear and which allows infinite extensions driven by personal references, the memory, or the imagination of the viewer…
(excerpt from Crimea Book #1, What Occupations on a Deserted Island, Gwilhem Perthuis)

 

> Inside

Frédéric Khodja

Dessins fiction

06 mars > 07 avril 2010

Frédéric Khodja’s graphic work is made up of images worked in pencil in layers, superimposing on paper like literary or iconographic layers made up of forms, ideas, fragments, derivations that come from previous drawings, a repertoire of images, or literary references of which he grasps an iconic dimension. As in Casares’ work, the corpus is thus constantly deployed in multiple productions, motifs are reworked, integrated into other structures, at the expense of details that disappear and are later exploited in different forms. The autonomy of each drawing is quite relative, it is essentially material, occupying a sheet of paper of a determined format. But it is erased by the fact that the drawing does not allow itself to be instantly penetrated by the gaze: the spectator must register in a temporality so that the image comes to him and he can understand its depths, the multiple subtleties, the movement at work within the work which does not immediately appear and which allows infinite extensions driven by personal references, the memory, or the imagination of the viewer…
(excerpt from Crimea Book #1, What Occupations on a Deserted Island, Gwilhem Perthuis)

 

> Inside

Frédéric Khodja

Dessins fiction

06 mars > 07 avril 2010

Frédéric Khodja’s graphic work is made up of images worked in pencil in layers, superimposing on paper like literary or iconographic layers made up of forms, ideas, fragments, derivations that come from previous drawings, a repertoire of images, or literary references of which he grasps an iconic dimension. As in Casares’ work, the corpus is thus constantly deployed in multiple productions, motifs are reworked, integrated into other structures, at the expense of details that disappear and are later exploited in different forms. The autonomy of each drawing is quite relative, it is essentially material, occupying a sheet of paper of a determined format. But it is erased by the fact that the drawing does not allow itself to be instantly penetrated by the gaze: the spectator must register in a temporality so that the image comes to him and he can understand its depths, the multiple subtleties, the movement at work within the work which does not immediately appear and which allows infinite extensions driven by personal references, the memory, or the imagination of the viewer…
(excerpt from Crimea Book #1, What Occupations on a Deserted Island, Gwilhem Perthuis)

 

> Inside

Frédéric Khodja

Dessins fiction

06 mars > 07 avril 2010

Frédéric Khodja’s graphic work is made up of images worked in pencil in layers, superimposing on paper like literary or iconographic layers made up of forms, ideas, fragments, derivations that come from previous drawings, a repertoire of images, or literary references of which he grasps an iconic dimension. As in Casares’ work, the corpus is thus constantly deployed in multiple productions, motifs are reworked, integrated into other structures, at the expense of details that disappear and are later exploited in different forms. The autonomy of each drawing is quite relative, it is essentially material, occupying a sheet of paper of a determined format. But it is erased by the fact that the drawing does not allow itself to be instantly penetrated by the gaze: the spectator must register in a temporality so that the image comes to him and he can understand its depths, the multiple subtleties, the movement at work within the work which does not immediately appear and which allows infinite extensions driven by personal references, the memory, or the imagination of the viewer…
(excerpt from Crimea Book #1, What Occupations on a Deserted Island, Gwilhem Perthuis)

 

> Inside

Frédéric Khodja

Dessins fiction

06 mars > 07 avril 2010

Frédéric Khodja’s graphic work is made up of images worked in pencil in layers, superimposing on paper like literary or iconographic layers made up of forms, ideas, fragments, derivations that come from previous drawings, a repertoire of images, or literary references of which he grasps an iconic dimension. As in Casares’ work, the corpus is thus constantly deployed in multiple productions, motifs are reworked, integrated into other structures, at the expense of details that disappear and are later exploited in different forms. The autonomy of each drawing is quite relative, it is essentially material, occupying a sheet of paper of a determined format. But it is erased by the fact that the drawing does not allow itself to be instantly penetrated by the gaze: the spectator must register in a temporality so that the image comes to him and he can understand its depths, the multiple subtleties, the movement at work within the work which does not immediately appear and which allows infinite extensions driven by personal references, the memory, or the imagination of the viewer…
(excerpt from Crimea Book #1, What Occupations on a Deserted Island, Gwilhem Perthuis)

 

> Inside

Frédéric Khodja

Dessins fiction

06 mars > 07 avril 2010

Frédéric Khodja’s graphic work is made up of images worked in pencil in layers, superimposing on paper like literary or iconographic layers made up of forms, ideas, fragments, derivations that come from previous drawings, a repertoire of images, or literary references of which he grasps an iconic dimension. As in Casares’ work, the corpus is thus constantly deployed in multiple productions, motifs are reworked, integrated into other structures, at the expense of details that disappear and are later exploited in different forms. The autonomy of each drawing is quite relative, it is essentially material, occupying a sheet of paper of a determined format. But it is erased by the fact that the drawing does not allow itself to be instantly penetrated by the gaze: the spectator must register in a temporality so that the image comes to him and he can understand its depths, the multiple subtleties, the movement at work within the work which does not immediately appear and which allows infinite extensions driven by personal references, the memory, or the imagination of the viewer…
(excerpt from Crimea Book #1, What Occupations on a Deserted Island, Gwilhem Perthuis)

 

> Inside

Frédéric Khodja

Dessins fiction

06 mars > 07 avril 2010

Frédéric Khodja’s graphic work is made up of images worked in pencil in layers, superimposing on paper like literary or iconographic layers made up of forms, ideas, fragments, derivations that come from previous drawings, a repertoire of images, or literary references of which he grasps an iconic dimension. As in Casares’ work, the corpus is thus constantly deployed in multiple productions, motifs are reworked, integrated into other structures, at the expense of details that disappear and are later exploited in different forms. The autonomy of each drawing is quite relative, it is essentially material, occupying a sheet of paper of a determined format. But it is erased by the fact that the drawing does not allow itself to be instantly penetrated by the gaze: the spectator must register in a temporality so that the image comes to him and he can understand its depths, the multiple subtleties, the movement at work within the work which does not immediately appear and which allows infinite extensions driven by personal references, the memory, or the imagination of the viewer…
(excerpt from Crimea Book #1, What Occupations on a Deserted Island, Gwilhem Perthuis)

 

> Inside

Frédéric Khodja

Dessins fiction

06 mars > 07 avril 2010

Frédéric Khodja’s graphic work is made up of images worked in pencil in layers, superimposing on paper like literary or iconographic layers made up of forms, ideas, fragments, derivations that come from previous drawings, a repertoire of images, or literary references of which he grasps an iconic dimension. As in Casares’ work, the corpus is thus constantly deployed in multiple productions, motifs are reworked, integrated into other structures, at the expense of details that disappear and are later exploited in different forms. The autonomy of each drawing is quite relative, it is essentially material, occupying a sheet of paper of a determined format. But it is erased by the fact that the drawing does not allow itself to be instantly penetrated by the gaze: the spectator must register in a temporality so that the image comes to him and he can understand its depths, the multiple subtleties, the movement at work within the work which does not immediately appear and which allows infinite extensions driven by personal references, the memory, or the imagination of the viewer…
(excerpt from Crimea Book #1, What Occupations on a Deserted Island, Gwilhem Perthuis)

 

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