Julien Discrit

Exhibition:
- "Le pressentiment de mon indiscipline"/ Dialogue on the notion of line with Bernar Venet, Galerie Anne-Sarah Bénichou, Paris, France, 2019

This resin casting is the result of the slow pouring of water through a bed of silica and present the frozen image of a liquid continuum.  The subtle forms as much as the traced lines seem to be the emanation of an intelligence of water, a deep network of neurons, a self-generated sculpture which responds to it own logic.  Equally taking interest in the miniature and the maquette, this work pursues research initiated in older works such as États Inversées (Inverted States) or Inframince Mont-Blanc (Mont-Blanc Infrathin). 

Exhibitions:
- Le réel dispose de son invention, Les Tanneries, Contemporary Art Center, Amilly, France, 2019
- Le discret et le continu, Galerie Anne-Sarah Bénichou, Paris, France, 2018

This resin casting is the result of the slow pouring of water through a bed of silica and present the frozen image of a liquid continuum.  The subtle forms as much as the traced lines seem to be the emanation of an intelligence of water, a deep network of neurons, a self-generated sculpture which responds to it own logic.  Equally taking interest in the miniature and the maquette, this work pursues research initiated in older works such as États Inversées (Inverted States) or Inframince Mont-Blanc (Mont-Blanc Infrathin). 

Exhibition:
- Le discret et le continu, Galerie Anne-Sarah Bénichou, Paris, France, 2018

This resin casting is the result of the slow pouring of water through a bed of silica and present the frozen image of a liquid continuum.  The subtle forms as much as the traced lines seem to be the emanation of an intelligence of water, a deep network of neurons, a self-generated sculpture which responds to it own logic.  Equally taking interest in the miniature and the maquette, this work pursues research initiated in older works such as États Inversées (Inverted States) or Inframince Mont-Blanc (Mont-Blanc Infrathin). 

Exhibitions:
- Circumfusa, les choses répandues autour, Galerie Interface, Dijon, France
- Le discret et le continu, Galerie Anne-Sarah Bénichou, Paris, France, 2018

This resin casting is the result of the slow pouring of water through a bed of silica and present the frozen image of a liquid continuum.  The subtle forms as much as the traced lines seem to be the emanation of an intelligence of water, a deep network of neurons, a self-generated sculpture which responds to it own logic.  Equally taking interest in the miniature and the maquette, this work pursues research initiated in older works such as États Inversées (Inverted States) or Inframince Mont-Blanc (Mont-Blanc Infrathin). 

Exhibition:
- Le discret et le continu, Galerie Anne-Sarah Bénichou, Paris, France, 2018

This resin casting is the result of the slow pouring of water through a bed of silica and present the frozen image of a liquid continuum.  The subtle forms as much as the traced lines seem to be the emanation of an intelligence of water, a deep network of neurons, a self-generated sculpture which responds to it own logic.  Equally taking interest in the miniature and the maquette, this work pursues research initiated in older works such as États Inversées (Inverted States) or Inframince Mont-Blanc (Mont-Blanc Infrathin).  

Exhibitions:
Circumfusa, les choses répandues autour, Galerie Interface, Dijon, France
- Le discret et le continu, Galerie Anne-Sarah Bénichou, Paris, France, 2018

This resin casting is the result of the slow pouring of water through a bed of silica and present the frozen image of a liquid continuum.  The subtle forms as much as the traced lines seem to be the emanation of an intelligence of water, a deep network of neurons, a self-generated sculpture which responds to it own logic.  Equally taking interest in the miniature and the maquette, this work pursues research initiated in older works such as États Inversées (Inverted States) or Inframince Mont-Blanc (Mont-Blanc Infrathin). 

Exhibitions:
- Circumfusa, les choses répandues autour, Galerie Interface, Dijon, France
- Le discret et le continu, Galerie Anne-Sarah Bénichou, Paris, France, 2018

This resin casting is the result of the slow pouring of water through a bed of silica and present the frozen image of a liquid continuum.  The subtle forms as much as the traced lines seem to be the emanation of an intelligence of water, a deep network of neurons, a self-generated sculpture which responds to it own logic.  Equally taking interest in the miniature and the maquette, this work pursues research initiated in older works such as États Inversées (Inverted States) or Inframince Mont-Blanc (Mont-Blanc Infrathin). 

Exhibitions:
- Le réel dispose de son invention, Les Tanneries, Contemporary Art Center, Amilly, France, 2019
- Le discret et le continu, Galerie Anne-Sarah Bénichou, Paris, France, 2018

L’Ange de Nagasaki is a photography of the statue damaged by the atomic bomb dropped on Nagasaki 9 August 1945.  In the past it made up an integral part of the Urakami cathedral.  This angelic face was offered as a symbol of peace by the Japanese government to UNESCO in 1976.  It was subsequently placed in the institution’s gardens in Paris.  The original statue is therefore  a document and a monument at once in that it was a direct witness to the atomic cataclysm and in the fact that the scars related to this event confer to it a powerful symbolic significance.  A monument then which remembers itself.

Exhibition:
- Le discret et le continu, Galerie Anne-Sarah Bénichou, Paris, France, 2018

Kintsugi is a reconstitution of a statue damaged by the atomic bomb dropped on Nagasaki 9 August 1945. The truncated face of the Angel of Nagasaki is reconstituted here by the artist who presents the half of it that has been destroyed.  Produced in a block of white marble, this missing piece potentially repairs the figure of the Angel; it is a spectral and celestial alter ego of the human figure.

Exhibition:
- Le discret et le continu, Galerie Anne-Sarah Bénichou, Paris, France, 2018

With this series of sculptures, Julien Discrit develops research where the materials and forms are intimately intertwined, combined to create a constant interpolation.  This work begun in 2017 under the title Pierres (Stones) is focused on the hand, the human;  here plastic combines with organic forms, which are themselves petrified.  This produces hybridizations, like so many solutions for continuity. 

Exhibition:
- Circumfusa, les choses répandues autour, Galerie Interface, Dijon, France, 2018-2019

With this series of sculptures, Julien Discrit develops research where the materials and forms are intimately intertwined, combined to create a constant interpolation.  This work begun in 2017 under the title Pierres (Stones) is focused on the hand, the human;  here plastic combines with organic forms, which are themselves petrified.  This produces hybridizations, like so many solutions for continuity. 

Exhibition:
- Le discret et le continu, Galerie Anne-Sarah Bénichou, Paris, France, 2018

With this series of sculptures, Julien Discrit develops research where the materials and forms are intimately intertwined, combined to create a constant interpolation.  This work begun in 2017 under the title Pierres (Stones) is focused on the hand, the human;  here plastic combines with organic forms, which are themselves petrified.  This produces hybridizations, like so many solutions for continuity.  

Exhitbiion:
- Le discret et le continu, Galerie Anne-Sarah Bénichou, Paris, France, 2018

With this series of sculptures, Julien Discrit develops research where the materials and forms are intimately intertwined, combined to create a constant interpolation.  This work begun in 2017 under the title Pierres (Stones) is focused on the hand, the human;  here plastic combines with organic forms, which are themselves petrified.  This produces hybridizations, like so many solutions for continuity. 

Exhibition:
- Le discret et le continu, Galerie Anne-Sarah Bénichou, Paris, France, 2018

With this series of sculptures, Julien Discrit develops research where the materials and forms are intimately intertwined, combined to create a constant interpolation.  This work begun in 2017 under the title Pierres (Stones) is focused on the hand, the human;  here plastic combines with organic forms, which are themselves petrified.  This produces hybridizations, like so many solutions for continuity. 

Exhibition:
- Circumfusa, les choses répandues autour, Galerie Interface, Dijon, France, 2018-2019

With this series of sculptures, Julien Discrit develops research where the materials and forms are intimately intertwined, combined to create a constant interpolation.  This work begun in 2017 under the title Pierres (Stones) is focused on the hand, the human;  here plastic combines with organic forms, which are themselves petrified.  This produces hybridizations, like so many solutions for continuity. 

Exhibition:
- Circumfusa, les choses répandues autour, Galerie Interface, Dijon, France, 2018-2019

With this series of sculptures, Julien Discrit develops research where the materials and forms are intimately intertwined, combined to create a constant interpolation.  This work begun in 2017 under the title Pierres (Stones) is focused on the hand, the human;  here plastic combines with organic forms, which are themselves petrified.  This produces hybridizations, like so many solutions for continuity. 

Exhibition:
- Less is more, Carte blanche à Maya Sachew, Galerie du Crous, Paris, France, 2018

With this series of sculptures, Julien Discrit develops research where the materials and forms are intimately intertwined, combined to create a constant interpolation.  This work begun in 2017 under the title Pierres (Stones) is focused on the hand, the human;  here plastic combines with organic forms, which are themselves petrified.  This produces hybridizations, like so many solutions for continuity. 

Exhibition:
- Le discret et le continu, Galerie Anne-Sarah Bénichou, Paris, France, 2018

With this series of sculptures, Julien Discrit develops research where the materials and forms are intimately intertwined, combined to create a constant interpolation.  This work begun in 2017 under the title Pierres (Stones) is focused on the hand, the human;  here plastic combines with organic forms, which are themselves petrified.  This produces hybridizations, like so many solutions for continuity.  

Exhibition:
- Le discret et le continu, Galerie Anne-Sarah Bénichou, Paris, France, 2018

With this series of sculptures, Julien Discrit develops research where the materials and forms are intimately intertwined, combined to create a constant interpolation.  This work begun in 2017 under the title Pierres (Stones) is focused on the hand, the human;  here plastic combines with organic forms, which are themselves petrified.  This produces hybridizations, like so many solutions for continuity.  Exhibition:
- Entre deux infinis, Galerie Anne-Sarah Bénichou, Paris, France

With this series of sculptures, Julien Discrit develops research where the materials and forms are intimately intertwined, combined to create a constant interpolation.  This work begun in 2017 under the title Pierres (Stones) is focused on the hand, the human;  here plastic combines with organic forms, which are themselves petrified.  This produces hybridizations, like so many solutions for continuity.  


Exhibition:
- Entre deux infinis, Galerie Anne-Sarah Bénichou, Paris, France

Exhibition :
- Le discret et le continu, Galerie Anne-Sarah Bénichou, Paris, France, 2018

Exhibition:
- Le discret et le continu, Galerie Anne-Sarah Bénichou, Paris, France, 2018

Inverted Sates series have been created thanks to elevation data files and show monochromatic landscapes, rivers and mountains from the United States territory. Unless here after changing the light direction and so relief shading, the artist created an inverted landscape. Valleys became crests and mountains became depressions. So instead of offering the classic bird-eye view these maps gives us an exclusive view from underneath.

Inverted Sates series have been created thanks to elevation data files and show monochromatic landscapes, rivers and mountains from the United States territory. Unless here after changing the light direction and so relief shading, the artist created an inverted landscape. Valleys became crests and mountains became depressions. So instead of offering the classic bird-eye view these maps gives us an exclusive view from underneath.

Inverted Sates series have been created thanks to elevation data files and show monochromatic landscapes, rivers and mountains from the United States territory. Unless here after changing the light direction and so relief shading, the artist created an inverted landscape. Valleys became crests and mountains became depressions. So instead of offering the classic bird-eye view these maps gives us an exclusive view from underneath.

Inverted Sates series have been created thanks to elevation data files and show monochromatic landscapes, rivers and mountains from the United States territory. Unless here after changing the light direction and so relief shading, the artist created an inverted landscape. Valleys became crests and mountains became depressions. So instead of offering the classic bird-eye view these maps gives us an exclusive view from underneath. 

Exhibitions::
- Prix Meurice pour l'art contemporain 2016, Hôtel le Meurice, Paris
- Le Souvenir des pierres, Galerie Anne-Sarah Bénichou, 21 mai- 23 juillet 2017, Paris, France

Inverted Sates series have been created thanks to elevation data files and show monochromatic landscapes, rivers and mountains from the United States territory. Unless here after changing the light direction and so relief shading, the artist created an inverted landscape. Valleys became crests and mountains became depressions. So instead of offering the classic bird-eye view these maps gives us an exclusive view from underneath.

N38W084 met en évidence des motifs à partir de relevés topographiques, ici ceux d’un vaste territoire américain. Dans la continuité de la série Mille Mississipi, le traitement des données chiffrées obtenues et le travail de la couleur révèlent une multitude de réseaux hydrographiques de ruisseaux, fleuves et rivières, métaphores ou prétextes à rêver face à des figures qui deviennent des arborescences, des connexions neurologiques, des formes végétales ou encore électriques...

Exhibition:
- Less is more, Carte blanche à Maya Sachew, Galerie du Crous, Paris, France, 2018

Cette œuvre prend comme point de départ des données d'élévation, c'est-à-dire des relevés de terrains, des relevés topographiques... L'image est traitée par des variations de couleurs assez fines, en fonction de l'altitude (les couleurs varient tous les 30 cm d'élévation).  Cette image montre une zone du grand Canyon dont la particularité est la grande variété des couches de roches et des reliefs. L’image ainsi obtenue créée une sorte de palimpseste de volutes de tous les reliefs du Grand Canyon sur quelques milliers d’années.

Oeuvre produite avec le soutien de la FNAGP
Avec le soutien à une recherche/production artistique du CNAP
Ce projet bénéficie du soutien de Lafayette Anticipations - Fonds de dotation Famille Moulin, Paris

Collection of Institut d’Art Contemporain, Rhône-Alpes

Exhibition:
- Mondes flottants, 14ème Biennale de Lyon, curator Emma Lavigne, La Sucrière, Lyon, 20th September- 7th January 2018

Oeuvre produite avec le soutien de la FNAGP
Avec le soutien à une recherche/production artistique du CNAP
Ce projet bénéficie du soutien de Lafayette Anticipations - Fonds de dotation Famille Moulin, Paris

Collection of Institut d’Art Contemporain, Rhône-Alpes

Exhibition:
- Mondes flottants, 14ème Biennale de Lyon, curator Emma Lavigne, La Sucrière, Lyon, 20th September- 7th January 2018

Oeuvre produite avec le soutien de la FNAGP
Avec le soutien à une recherche/production artistique du CNAP
Ce projet bénéficie du soutien de Lafayette Anticipations - Fonds de dotation Famille Moulin, Paris

Collection of Institut d’Art Contemporain, Rhône-Alpes

Exhibition:
- Mondes flottants, 14ème Biennale de Lyon, curator Emma Lavigne, La Sucrière, Lyon, 20th September- 7th January 2018

Oeuvre produite avec le soutien de la FNAGP
Avec le soutien à une recherche/production artistique du CNAP
Ce projet bénéficie du soutien de Lafayette Anticipations - Fonds de dotation Famille Moulin, Paris

Collection of Institut d’Art Contemporain, Rhône-Alpes

Exhibition:
- Mondes flottants, 14ème Biennale de Lyon, curator Emma Lavigne, La Sucrière, Lyon, 20th September- 7th January 2018

Oeuvre produite avec le soutien de la FNAGP
Avec le soutien à une recherche/production artistique du CNAP
Ce projet bénéficie du soutien de Lafayette Anticipations - Fonds de dotation Famille Moulin, Paris

Collection of Institut d’Art Contemporain, Rhône-Alpes

Exhibition:
- Mondes flottants, 14ème Biennale de Lyon, curator Emma Lavigne, La Sucrière, Lyon, 20th September- 7th January 2018

Oeuvre produite avec le soutien de la FNAGP
Avec le soutien à une recherche/production artistique du CNAP
Ce projet bénéficie du soutien de Lafayette Anticipations - Fonds de dotation Famille Moulin, Paris

Collection of Institut d’Art Contemporain, Rhône-Alpes

Exhibition:
- Mondes flottants, 14ème Biennale de Lyon, curator Emma Lavigne, La Sucrière, Lyon, 20th September- 7th January 2018

Oeuvre produite avec le soutien de la FNAGP
Avec le soutien à une recherche/production artistique du CNAP
Ce projet bénéficie du soutien de Lafayette Anticipations - Fonds de dotation Famille Moulin, Paris

Collection of Institut d’Art Contemporain, Rhône-Alpes

Exhibition:
- Mondes flottants, 14ème Biennale de Lyon, curator Emma Lavigne, La Sucrière, Lyon, 20th September- 7th January 2018

Black woodpecker song uses a photographic process that leads to the origins of photography. The cyanotype shows the ephemeral and immaterial birds? chirping, in a graphic shape produced by sound analysis.

Black tit song uses a photographic process that leads to the origins of photography. The cyanotype shows the ephemeral and immaterial birds? chirping, in a graphic shape produced by sound analysis.

Exhibition :
- L'air vibre du bourdonnement des insectes, Musée départemental d'art contemporain de Rochechouart, 07th October - 17th December, Rochechouart, France

This  work uses a photographic process that leads to the origins of photography. The cyanotype shows the ephemeral and immaterial birds? chirping, in a graphic shape produced by sound analysis.

Exhibition:
- Partition du silence, Galerie Anne-Sarah Bénichou, 05th november- 23 december 2016, Paris, France

A thousand Mississippi series is based on elevation datas, in other words topography. They show real areas of the Mississippi valley, from which we can observe the infinite curves and former bends. Thanks to a subtil color grading, the picture reveals the former paths of the river, engraved in the ground of the valley.

Exhibitions:
- Mapping at Last, Gallery Eric Mouchet, 04th febr- 25th march 2017, Paris, France
-Le Souvenir des pierres, Gallery Anne-Sarah Bénichou, 21 may -23 july 2016, Paris, France

A thousand Mississippi series is based on elevation datas, in other words topography. They show real areas of the Mississippi valley, from which we can observe the infinite curves and former bends. Thanks to a subtil color grading, the picture reveals the former paths of the river, engraved in the ground of the valley.

Exhibitions:
- L'air vibre du bourdonnement des insectes, Musée départemental d'art contemporain, de Rochechouart, 07th October - 17th December 2017, Rochechouart, France
- Mapping at last, Gallery Eric Mouchet, 4th february - 25th march 2017, Paris, France
- Le Souvenir des pierres, Gallery Anne-Sarah Bénichou, 21st  may- 23 july 2016, Paris, France

Each Diagramme offers the story of a selected dream made by the artist, realised on a notebook page. By removing the ribbon from a typewriter, the paper has been carved to create the letters and the words which make these scripts visible for our eyes

Exhibition:
- Le souvenir des pierres, Galerie Anne-Sarah Bénichou, Paris, 21st May-16th july 2016

Diagramme n°071214-081214"Mont Viso"

Je marche sur un sentier de montagne avec un ami.
Notre objectif est d'atteindre le sommet du Mont Viso.

Au bout d'un moment nous arrivons enfin à la minuscule plate-forme qui constitue le sommet.
Nous nous reposons un instant pour profiter du panorama.

En voulant m'asseoir je fais basculer une grosse roche qui tombe sur le sol et se brise
immédiatement en deux, presque en son milieu.
Je me rends alors compte que sur une des deux faces mise à nu est inscrit quelque chose; un mot est gravé dans la pierre.

Je me demande comment ce mot a bien pu être gravé à l'intérieur de la roche.

Je m'approche pour pouvoir le déchiffrer, je n'arrive pas à le lire.

4,6 milliards d’années sont matérialisées par une ligne de 4,6 mètres.

Une fois ce rapport d’échelle installé, il en découle qu’une année est égale à un nanomètre.  On peut aussi en déduire qu’il y a un milliard de nanomètre dans un mètre.

Taking up the rules used in the building of Micronesian stick charts, Carte mémoire (Memory Card/Map) offers a primitive and personnal cartography of the city of Montreal. Built on an oversimplified pattern, with no respect of distance, it sets up a support to the memorization of space and it flows, representing the remembered spots as islands of an intimate achipelago.

Exhibitions:
- Espaces intuitifs, L'abbaye, Espace d'art contemporain, Annecy-Le Vieux, France, du 17 September au 27th November 2016
- Le souvenir des pierres, Galerie Anne-Sarah Bénichou, Paris, 21st May-16th July 2016

While the strip remained an object of fascination for mathematicians throughout the 19th century, it was quickly taken up by some very influential thinkers in the human and social sciences. Lacanian psychoanalysis, for instance, uses the Möbius strip as a spatialization model for the work of the unconscious.
As for formal dimensions of Discrit?s video, they refer to a series of drawings and woodcuts produced by M.C. Escher in the early 1960s depicting nine red ants crawling along a Möbius strip, usually placed vertically.?Following a precise contortion, the Möbius strip?which becomes a felt space in the video? reveals the cyclical relationship between the physical elaboration of a mathematical concept, its reuse in the social sciences, its potential artistic representations, and the experience it can afford as a physical phenomenon.

Daniel Fiset

Exhibitions :
- De cosmogonies en fantasmagories, Le Point Commun (Contemporary Art Center, curated by Imagespassages, Annecy, France, 2018-2019
- Supergreen, Hôtel Cinq Godet, 8th September-  22nd October 2017, Paris, France
- Nature. Culture, Centre d'art contemporain Optica, Montréal, Canada, 1^er sept- 8 oct 2016

First realization of a serie, Decalques attempts to reproduce an moment and a specific place with a record of the light spectrum. These data, here collected July 27th, 2015 at 7:58 p.m., enabled exact reproduction of the ambient light by combining color filters commonly used in cinema industry.

These maps representing French Guyana have been produced by the French national geographic institute. Surprisingly, in some areas the map shows lack of information where it is written nuages (clouds). These blank spaces have been cut, as the inverted representation of the cumulus passing over the rain forest, the day the institute took aerial pictures.

Exhibitions:
- La Bonne éducation, musée national de l’Éducation, Frac Normandie Rouen, Rouen, France, 2019
- Le réel dispose de son invention, Les Tanneries, Contemporary Art Center, Amilly, France, 2019
- L'Atlas des nuages, Fondation François Schneider, Watwiller, France, June, 23rd - September, 30th, 2018
-Le Souvenir des pierres, Gallery Anne-Sarah Bénichou, 21 may -23 july 2016, Paris, France
- Territoire Hopi, Gallery YGREC, Paris, 4th december 2015- 23rd january 2016
- La mesure du possible, Gallery Thomas Henry Ross. Montreal, Canada, 2nd- 30th august 2014

These maps representing French Guyana have been produced by the French national geographic institute. Surprisingly, in some areas the map shows lack of information where it is written 'nuages' (clouds). These blank spaces have been cut, as the inverted representation of the cumulus passing over the rain forest, the day the institute took aerial pictures.

Exhibitions:
- La Bonne éducation, musée national de l’Éducation, Frac Normandie Rouen, Rouen, France, 2019
- Le réel dispose de son invention, Les Tanneries, Contemporary Art Center, Amilly, France, 2019
- L'Atlas des nuages, Fondation François Schneider, Watwiller, France, June, 23rd - September, 30th, 2018
- Au loin une île, Mains d'Oeuvres, Saint-Ouen, France, February 1st, March, 14
- Mapping at Last, Gallery Eric Mouchet, 04th febr- 25th march 2017, Paris, France
-Le Souvenir des pierres, Gallery Anne-Sarah Bénichou, 21 may -23 july 2016, Paris, France
- Territoire Hopi, Gallery YGREC, Paris, 4th december 2015- 23rd january 2016.
- La mesure du possible, Gallery Thomas Henry Ross. Montreal, Canada, 2nd- 30th august 2014.

These maps representing French Guyana have been produced by the French national geographic institute. Surprisingly, in some areas the map shows lack of information where it is written 'nuages' (clouds). These blank spaces have been cut, as the inverted representation of the cumulus passing over the rain forest, the day the institute took aerial pictures.

Exhibitions:
- La Bonne éducation, musée national de l’Éducation, Frac Normandie Rouen, Rouen, France, 2019
- Le réel dispose de son invention, Les Tanneries, Contemporary Art Center, Amilly, France, 2019
- L'Atlas des nuages, Fondation François Schneider, Watwiller, France, June, 23rd - September, 30th, 2018
-Le Souvenir des pierres, Gallery Anne-Sarah Bénichou, 21 may -23 july 2016, Paris, France
- Territoire Hopi, Gallery YGREC, Paris, 4th december 2015- 23rd january 2016.
- La mesure du possible, Gallery Thomas Henry Ross. Montreal, Canada, 2nd- 30th august 2014.

Cette oeuvre sera exposée dans la galerie Backslash - 29 rue Notre-Dame de Nazareth 75003 Paris dans le cadre de SESSION#2 du 9 au 18 juin 2016.

Simply composed by a plexiglas block placed on a photograph, Ce qui nous regarde (literally “what stares at us or what is our concern”) is a piece with double meaning, as the display hides and reveals in the same time the image of a absent look.

These images have been created thanks to elevation data files and show monochromatic landscapes, rivers and mountains from the United States territory. Unless here after changing the light direction and so relief shading, the artist created an inverted landscape. Valleys became crests and mountains became depressions. So instead of offering the classic bird-eye view these maps gives us an exclusive view from underneath.

Exhibitions:
- Le réel dispose de son invention, Les Tanneries, Contemporary Art Center, Amilly, France, 2019
- Mapping at last, Galerie Eric Mouchet, du 4th February- 25th March, Paris, France
- La mesure du possible, Galerie Thomas Henry Ross, Montréal, Québec, August 2014

This piece is composed by a brass shaft directly inserted into a wall and a halogen spot light. This produces a shadow on the wall, the word NOW is written underneath.

Sediments shows the double journey of an isolated young men, walking around a small town which seems to be abandonned, on the ocean front. Through his investigations in this landscape, he discovers a peculiar object which leads him to continue his researches, across remains of the past.

With Antoine Loubry

Director of photography: Charles Devoyer
Sound engineer: Alexandre Lemore
Director of photography assitant: Rémy Peslouan
Script: Amélie Forestier
Production management: Thomas Merret
Color correction: Richard Pelmar

This film has been produced thanks to DRAC Île-de-France and Direction des affaires culturelles de la Ville de Paris.

©2013 Julien Discrit

Sediments shows the double journey of an isolated young men, walking around a small town which seems to be abandonned, on the ocean front. Through his investigations in this landscape, he discovers a peculiar object which leads him to continue his researches, across remains of the past.

With Antoine Loubry

Director of photography: Charles Devoyer
Sound engineer: Alexandre Lemore
Director of photography assitant: Rémy Peslouan
Script: Amélie Forestier
Production management: Thomas Merret
Color correction: Richard Pelmar

This film has been produced thanks to DRAC Île-de-France and Direction des affaires culturelles de la Ville de Paris.

©2013 Julien Discrit

Sediments shows the double journey of an isolated young men, walking around a small town which seems to be abandonned, on the ocean front. Through his investigations in this landscape, he discovers a peculiar object which leads him to continue his researches, across remains of the past.

With Antoine Loubry

Director of photography: Charles Devoyer
Sound engineer: Alexandre Lemore
Director of photography assitant: Rémy Peslouan
Script: Amélie Forestier
Production management: Thomas Merret
Color correction: Richard Pelmar

This film has been produced thanks to DRAC Île-de-France and Direction des affaires culturelles de la Ville de Paris.

©2013 Julien Discrit

Sediments shows the double journey of an isolated young men, walking around a small town which seems to be abandonned, on the ocean front. Through his investigations in this landscape, he discovers a peculiar object which leads him to continue his researches, across remains of the past.

With Antoine Loubry

Director of photography: Charles Devoyer
Sound engineer: Alexandre Lemore
Director of photography assitant: Rémy Peslouan
Script: Amélie Forestier
Production management: Thomas Merret
Color correction: Richard Pelmar

This film has been produced thanks to DRAC Île-de-France and Direction des affaires culturelles de la Ville de Paris.

©2013 Julien Discrit

Exhibition:
- Le souvenir des pierres, Galerie Anne-Sarah Bénichou, Paris, 21st May-16th juiy 2016
- Loin des yeux, Centre d'art contemporain de Montréal, du 16 avril au 11 juin 2016

La série Mont Analogue prend pour objet le jeu sur les rapports d’échelles. Il s’agit de portraits de petits cailloux collectés pour leur potentiel de ressemblance à des ensembles montagneux. La prise de vue accentue la perte de repère spatiaux et le rapport d’échelle entre relief naturel et microcosme.

Exhibition:
- Le souvenir des pierres, Galerie Anne-Sarah Bénichou, Paris, 21st May-16th juiy 2016

La série Sédiments s’attache à rendre compte de phénomènes microscopiques. C’est le fruit d’une sédimentation, au sens propre comme au figuré, d’un lent travail du temps sur des éléments qui se combinent et se transforment pour créer un «objet fossile», le souvenir d’une expérience passée et la trace d’un sédiment futur.

In july 2009, during a trip into Mojave desert the artist filled two empty 135mm color roll film boxes with earth sample. Back in France he found these two boxes again, among other relics. Thanks to a riddle system of different sizes this earth has been sorted and put into test tubes in order to discover what the desert is made of.

Exhibition :
- SESSION#1, galerie Backslash, 2016, Paris, France

Exhibition :
- SESSION#1, galerie Backslash, 2016, Paris, France

Exhibition :
- SESSION#1, galerie Backslash, 2016, Paris, France

Exhibition :
- SESSION#1, galerie Backslash, 2016, Paris, France

Exhibition :
- SESSION#1, galerie Backslash, 2016, Paris, France

On may 3rd 1836, the person by the name of D.Julien engraved his name on the banks of the Labyrinth canyon, along the Green river in the south of Utah. With this maiden action, he gave the first testimony of a white men in this distant zone and at the same time, he opened the way for other signatures. 173 years later, the artist is looking for this double. This photograph tells us this experience, linked with identity, time lapse and the importance of trace.

Exhibition:

- "ZONES SENSIBLES. La carte fait-elle le monde ?" 24 juin au 23 octobre 2016, Frac Lorraine, Metz.

Exhibitions:
- Persona Grata, MAC VAL, Vitry-Sur-Seine, France, 2018
- Mondes flottants, Biennale de Lyon, curator Emma Lavigne, Musée d'Art contemporain, Lyon, 2017
- What is not visible is not invisible, National Museum of Singapore, Singapore, Song Eun Art Space de Séoul, South Corea, and BACC of Bangkok, Thailand, 2016-2017
- La consistance du visible, Prix Fondation d’entreprise Ricard 2008

Collection Frac Lorraine, Metz, France

Exhibitions:
- Persona Grata, MAC VAL, Vitry-Sur-Seine, France, 2018
- Mondes flottants, Biennale de Lyon, curator Emma Lavigne, Musée d'Art contemporain, Lyon, 2017
- What is not visible is not invisible, National Museum of Singapore, Singapore, Song Eun Art Space de Séoul, South Corea, and BACC of Bangkok, Thailand, 2016-2017
- La consistance du visible, Prix Fondation d’entreprise Ricard 2008

Collection Frac Lorraine, Metz, France

Exhibitions:
- Persona Grata, MAC VAL, Vitry-Sur-Seine, France, 2018
- Mondes flottants, Biennale de Lyon, curator Emma Lavigne, Musée d'Art contemporain, Lyon, 2017
- What is not visible is not invisible, National Museum of Singapore, Singapore, Song Eun Art Space de Séoul, South Corea, and BACC of Bangkok, Thailand, 2016-2017
- La consistance du visible, Prix Fondation d’entreprise Ricard 2008

Collection Frac Lorraine, Metz, France

As a between-two surface, an uncertain line of contact, Inframince (Mont-Blanc) is a white stele topped by a transparent and luminescent block of resin. That subtle glow underline the thin opaque membrane which seems to divide the block in two, and draws an uneven relief, miniature size. This tiny thickness materializes, inside the block, the impalpable limit between sky and mountain.

Collection FRAC Lorraine, Metz, France

L’opale est une pierre cristalline dont les cristaux ne se forment qu’en pseudomorphose, c’est-à-dire par transformation d’un solide existant, les plus fréquentes étant celles du bois, des coquillages et des os. Cette idée de lente transformation de la matière osseuse en minéral est reprise ici par le façonnage d’une opale blanche en forme de dent humaine, comme le résidu d’un squelette fictif ou la création d’un fossile du futur.

A young man emerges from a tunnel. His running is punctuated by his voice, he is talking to himself. The city he is running through seems to be deserted. It forms behind him a luminous and ghostly background. His monologue starts rather curiously; it is about toys, primary school… What he is talking about, as his running continues, is the story of his life. A life we do not know at first whether it is only fantasized or really true. Through this narration in the first person, he unfolded with each new stride, the story of his life.

Exhibitions :
- Entre-temps, MOCA. Chengdu, China, 2014
- Entre-temps, Taïpei. Taïwan, 2011
- Entre-temps, Minsheng art Museum. Shanghai, China
- Entre-temps, LoftProject Etagi. Saint Pétersbourg, Russia, 2010
- OI Futuro, Rio de Janeiro, Brazil, 2009
- Entre-temps, MIS Sao Paulo. Brazil, 2009
- Territoires en expansion, FNAGP. Nogent-sur-Marne, France, 2007
- L'usage du monde, Rijeka, Croatia, 2006
- L'atelier, Galerie Nationale du jeu de paume, 2006
- Pilot:2, International art forum. London, U.K, 2005