Florence Paradeis
Temps sensibles
BRICE_A_LEVENTAIL - copie.jpg

Temps sensibles

Temps sensibles

Temps sensibles

Exhibition view

Temps sensibles

Temps sensibles

Exhibition view

Temps sensibles

Temps sensibles

Exhibition view

Temps sensibles

Temps sensibles

Exhibition view

Temps sensibles

Temps sensibles

Exhibition view

Temps sensibles

Temps sensibles

Exhibition view

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Florence Paradeis
La Crique, 2013
HD video colour
8'42 mn loop
Edition of 5 ex + 2 AP
l'artiste & In Situ - fabienne leclerc, Paris

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Florence Paradeis
Mer à boire , 2014
Collage
33 x 25 cm (framed 35 x 27 cm)
Unique artwork
© Florence Paradeis - ADAGP

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Florence Paradeis
Séance, 2014
Impression sur bâche PVC, châssis en bois
240 x 215 cm
Edition of 2 ex + 1 AP

florence_paradeis_in_situ_fabienne_leclerc_4755.jpg

Florence Paradeis
Dissolve, 2013
Collage
34 x 27 cm (framed 37,5 x 29 cm)
Unique artwork
© Florence Paradeis - ADAGP

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Florence Paradeis
Spiegel, 2012
Petite enfance
Tirage numérique contrecollé sur aluminium, encadrement ramin et verre
35 x 52 cm (framed 41,5 x 59 cm)
Edition of 3 ex + 1 AP
© Florence Paradeis - ADAGP
l'artiste & In Situ - fabienne leclerc, Paris

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Florence Paradeis
Echecs, 2013
Tirage Numérique Prestige Brillant, Contrecollé sur aluminium, encadrement ramin et verre
50 x 75 cm (framed 62 x 87 cm)
Edition of 3 ex + 1 AP
© Florence Paradeis - ADAGP

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Florence Paradeis
Little red shoes, 2011
Petite enfance
Tirage numérique contrecollé sur aluminium, encadrement ramin et verre.
35 x 52 cm (framed 41,5 x 59 cm)
Edition of 3 ex + 1 AP
© Florence Paradeis - ADAGP
l'artiste & In Situ - fabienne leclerc, Paris

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Florence Paradeis
Mitteleuropa, 2013
Tirage numérique prestige blanc, Contrecollé sur aluminium, encadrement ramin et verre
39,5 x 59,5 cm (framed 51,5 x 71,5 cm)
Edition of 3 ex + 1 AP
© Florence Paradeis - ADAGP

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Florence Paradeis
La poupée, 2014
Tirage numérique prestige blanc, Contrecollé sur aluminium, encadrement ramin et verre
65 x 43,3 cm (encadré 76 x 54 cm)
Edition of 3 ex + 1 AP
© Florence Paradeis - ADAGP

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Florence Paradeis
Poudre aux yeux, 2014
Tirage Numérique Prestige Brillant, Contrecollé sur aluminium, encadrement ramin et verre
56,6 x 85 cm (framed 71 x 98 cm)
Edition of 3 ex + 1 AP
© Florence Paradeis - ADAGP

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Florence Paradeis
125ml, 2013
Tirage numérique prestige blanc, Contrecollé sur aluminium, encadrement ramin et verre
39,5 x 59,5 cm (framed 71,5 x 51,5 cm)
Edition of 3 ex + 1 AP
© Florence Paradeis - ADAGP

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Florence Paradeis
Liban Sud, 2012
Collage
25 x 24 cm (framed 27,5 x 27 cm)
Unique artwork
© Florence Paradeis - ADAGP

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Florence Paradeis
Vertement, 2014
Tirage numérique prestige blanc, Contrecollé sur aluminium, encadrement ramin et verre
39,5 x 59,5 cm (framed 51,5 x 72 cm)
Edition of 3 ex + 1 AP
© Florence Paradeis - ADAGP

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Florence Paradeis
Miroir aux dés, 2012
Petite enfance
Tirage numérique contrecollé sur aluminium, encadrement ramin et verre
35 x 52 cm (encadré 42,5 x 59 cm)
Edition of 3 ex + 1 AP
© Florence Paradeis - ADAGP
l'artiste & In Situ - fabienne leclerc, Paris

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Florence Paradeis
La Roue, 2014
C-Print
72,6 x 109 cm (framed 88 x 124 cm)
Edition of 3 ex + 1 AP
© Florence Paradeis - ADAGP
l'artiste & In Situ - fabienne leclerc, Paris

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Florence Paradeis
Grotte, 2014
Collage
33 x 26 cm (framed 34,5 x 29 cm)
Unique artwork
© Florence Paradeis - ADAGP

1/23

«Sensitive Times» will be Florence Paradeis? third exhibition at Galerie In Situ. For this occasion, she will present new works, including photographs, collages and videos. «Sensitive Times» is the French term used to differentiate between the overall feeling of given time and the time that passes.
«Sensitive Times» in the plural could be a way to reconnect with that distinction, in order to suggest the movement of our moods caught in the spokes of passing time.

The photographs collected here do not claim any objectivity whatsoever, nor are they about delivering any kind of message. They are all a staging of the instant when each sign appears as one of an imminent vacillation; which is also a way of refreshing the instant for each onlooker.
To that effect, faced the presence of people and things in balance within the framed space, we will find out nothing.
From this necessary nothing to the expression of the subjectivity of each.

The collages rather ignore these subtleties. They even go against the ?real? effect sought in many photographs, and scoff as much at appearances as they do any attempts at depth. They are raw, rude and a bit stupid as the images of the world from which they are directly extracted.


Finally, the video piece ?The Cove (Creek)? focuses on the reenactment of a passing of time, already inscribed in a time that has passed. The aquatic element imposes as motif and beyond that as a metaphor of vision. The seascape seems ideal for dissolving the real, distorting the view and providing a propitious time for the experience of memory. In search of the variations in movement of which we are made, the musical model here is an invaluable aid as are the codes and expectations of cinematographic, even romanesque narrative.