View of “Eric Poitevin,” 2010.

Eric Poitevin

Peter Freeman | 59 rue Quincampoix

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All photography is a montage,” says Eric Poitevin. And, one might have been tempted to add upon leaving his recent show at the Galerie Nelson-Freeman, so is every exhibition: increasingly vertiginous, allowing one to envision infinite possibilities of reconfiguration, but also to appreciate the choices made by the artist. The presentation of the works on this occasion encouraged this impression: Poitevin undertook different strategies on each of the gallery’s two floors. Upstairs, five views of undergrowth were hung opposite two black-and-white diptychs of trees in winter. Chromatic richness and visual abundance dominated; the evocations were sensual and the subjects of meditation open: cycles of life, the beauty of nature, paths that lead nowhere. On the ground floor, by contrast, whiteness and asepsis reigned, in fragmentary images of bodies or of nature. Different formats and

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