Asking the question of a “minimal” representation in photography very quickly leads to asking the question of abstraction. How to reach a non-representative art, or one that would be close to it, with a tool intended to represent reality?
A whole section of Bruno Lapeyre’s work never ceases to answer this question but, unlike what could have been invented, particularly in the 1920s, by going through a representation that could not be more realistic, without using the slightest artifice.
He photographs both what refers to abstract art and what would cast doubt on the very object of his representation. By grasping the association of a cross of Saint-André and an abandoned Ikea furniture structure, he refers at least to constructivism. With the incredible multiplication of immaculate dustbins or even the presence of an open window which challenges the rigor of a facade, it is the whole integrity of what is represented which is called into question, the image transforming itself in a pretext for another text, outside the image, far away from what it was supposed to represent clearly, concretely.
NB. All photographs in the galleries are presented in random order.