Bernard Faucon

Galerie Yvon Lambert

For the past 14 years, Bernard Faucon has been photographing his memories, dreams, and fantasies. In the beginning, this personal universe took the form of true-false tableaux of his boyhood (no girls, no adults), elaborately, if not obsessively, staged with shop-window mannequins and an occasional live model. Then the mannequins were, as Faucon puts it, “dismissed,” and he turned to the settings alone, staging space, light, color, and time into increasingly emblematic landscapes and interiors that he called “Les Chambres d’amour” (The rooms of love, 1982–89) and “Les Chambres d’or” (The rooms of gold, 1982-89). Now, in the new series of “Les Idoles et les Sacrifices,” (The idols and the sacrifices, 1989–91), he has literally staged flesh and blood.

The “idols” are three-quarter portraits of young boys posed nude and immobile in a golden blaze of light; their features, their builds, their

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