QUENTIN LEFRANC

QUENTIN LEFRANC

QUENTIN LEFRANC

  • ARTWORK SOUNDSCAPE
  • ARTWORK SOUNDSCAPE
  • ARTWORK SOUNDSCAPE

Quentin Lefranc creates art works that are not quite paintings or sculptures, not even architectural elements. He focuses on questioning space and does so through diversity: by questioning the existence of the work itself. Rather than creating an assembled object, every single time is about setting up the zone that is offered. The works are used as a means to provoke a physical confrontation with the idea of an unfurling painting.

Quentin Lefranc creates art works that are not quite paintings or sculptures, not even architectural elements. He focuses on questioning space and does so through diversity: by questioning the existence of the work itself. Rather than creating an assembled object, every single time is about setting up the zone that is offered. The works are used as a means to provoke a physical confrontation with the idea of an unfurling painting.

Quentin Lefranc creates art works that are not quite paintings or sculptures, not even architectural elements. He focuses on questioning space and does so through diversity: by questioning the existence of the work itself. Rather than creating an assembled object, every single time is about setting up the zone that is offered. The works are used as a means to provoke a physical confrontation with the idea of an unfurling painting.

Quentin Lefranc creates art works that are not quite paintings or sculptures, not even architectural elements. He focuses on questioning space and does so through diversity: by questioning the existence of the work itself. Rather than creating an assembled object, every single time is about setting up the zone that is offered.
The works are used as a means to provoke a physical confrontation with the idea of an unfurling painting.

Quentin Lefranc creates art works that are not quite paintings or sculptures, not even architectural elements. He focuses on questioning space and does so through diversity: by questioning the existence of the work itself. Rather than creating an assembled object, every single time is about setting up the zone that is offered. The works are used as a means to provoke a physical confrontation with the idea of an unfurling painting.

Quentin Lefranc asked AM to propose a sound illustration of his artwork Repeat exhibited at FABRIKculture (Hegenheim).

Quentin Lefranc asked AM to propose a sound illustration of his artwork Repeat exhibited at FABRIKculture (Hegenheim).

Quentin Lefranc asked AM to propose a sound illustration of his artwork Repeat exhibited at FABRIKculture (Hegenheim).

Quentin Lefranc asked AM to propose a sound illustration of his artwork Repeat exhibited at FABRIKculture (Hegenheim).

Quentin Lefranc asked AM
to propose a sound illustration of his artwork Repeat exhibited
at FABRIKculture (Hegenheim).

 Repeat is the cross of various points of his researches. First is the fascination about the chair. This one as a sculpture/micro architecture/painted object
depending of the way it is articulated. But, it is first of all an object waiting for its subject.

Unlike the scenic compositions of Vermeer there is no instrument, just this speaker.
The background emphasizes this idea of a staging without figure. The successive strips of colors remind about the application of paint on architecture by Rietveld,
also the height of the chair. The succession of strips works also as variation
like on a music score.

Like most of his other art works, it needs someone else involvement.
This a way to keep it opened. No instrument, an impracticable chair,
without the performative act and its function of representation,
the system can only be activated by one of its composers; electronic and repetitive!

 Quentin Lefranc asked AM to propose a sound illustration of his artwork Repeat exhibited at FABRIKculture (Hegenheim).

 Repeat is the cross of various points of his researches. First is the fascination about the chair. This one as a sculpture/micro architecture/painted object depending of the way it is articulated. But, it is first of all an object waiting for its subject. Unlike the scenic compositions of Vermeer there is no instrument, just this speaker.
The background emphasizes this idea of a staging without figure.

The successive strips of colors remind about the application of paint on architecture by Rietveld, also the height of the chair. The succession of strips works also as variation like on a music score.

Like most of his other art works, it needs someone else involvement. This a way to keep it opened. No instrument, an impracticable chair, without the performative act and its function of representation, the system can only be activated by one of its composers; electronic and repetitive!

 Quentin Lefranc asked AM to propose a sound illustration of his artwork Repeat exhibited at FABRIKculture (Hegenheim).

 Repeat is the cross of various points of his researches. First is the fascination about the chair. This one as a sculpture/micro architecture/painted object
depending of the way it is articulated. But, it is first of all an object waiting for its subject. Unlike the scenic compositions of Vermeer there is no instrument, just this speaker.
The background emphasizes this idea of a staging without figure.

The successive strips of colors remind about the application of paint on architecture
by Rietveld, also the height of the chair. The succession of strips works also as variation like on a music score. Like most of his other art works, it needs someone else involvement.

This a way to keep it opened. No instrument, an impracticable chair, without the performative act and its function of representation, the system can only be activated
by one of its composers; electronic and repetitive!

Quentin Lefranc asked AM to propose a sound illustration of
his artwork Repeat exhibited at FABRIKculture (Hegenheim).

Repeat is the cross of various points of his researches. First is the fascination about the chair. This one as a sculpture/micro architecture/painted object depending of the way it is articulated. But, it is first of all an object waiting for its subject.
Unlike the scenic compositions of Vermeer there is no instrument, just this speaker.
The background emphasizes this idea of a staging without figure.

The successive strips of colors remind about the application of paint on architecture by Rietveld, also the height of the chair. The succession of strips works also as variation like on a music score.

Like most of his other art works, it needs someone else involvement. This a way to keep it opened. No instrument, an impracticable chair, without the performative act and its function of representation, the system can only be activated by one of its composers; electronic and repetitive!

Quentin Lefranc asked AM to propose
a sound illustration of his artwork Repeat exhibited at FABRIKculture (Hegenheim).

Repeat is the cross of various points of
his researches. First is the fascination about the chair. This one as a sculpture/micro architecture/painted object depending of the way it is articulated. But, it is first of all an object waiting for its subject. Unlike the scenic compositions of Vermeer there is
no instrument, just this speaker.

The background emphasizes this idea of a staging without figure. The successive strips of colors remind about the application of paint on architecture by Rietveld, also the height of the chair. The succession of strips works also as variation like on a music score.

Like most of his other art works, it needs someone else involvement. This a way to keep it opened. No instrument,
an impracticable chair, without the performative act and its function of representation, the system can only be activated by one of its composers;
electronic and repetitive!

ARTWORK SOUNDSCAPE

ARTWORK SOUNDSCAPE

ARTWORK SOUNDSCAPE

AM crafts an original soundscape from extracts of ‘Fear Liath More’ by Alejandra Salinas and Aeron Bergman from the album Scotch Monsters (Softmusic Records 2003) and from 'Drone#4' by Anomali from the album Drone & Tones For The Free
(Microrama Records 2017).

AM crafts an original soundscape from extracts of ‘Fear Liath More’ by Alejandra Salinas and Aeron Bergman from the album Scotch Monsters (Softmusic Records 2003) and from 'Drone#4' by Anomali from the album Drone & Tones For The Free (Microrama Records 2017).

AM crafts an original soundscape from extracts of ‘Fear Liath More’ by Alejandra Salinas and Aeron Bergman from the album Scotch Monsters (Softmusic Records 2003) and from 'Drone#4' by Anomali from the album Drone & Tones For The Free (Microrama Records 2017).

AM crafts an original soundscape from extracts of ‘Fear Liath More’ by Alejandra Salinas and Aeron Bergman from the album Scotch Monsters (Softmusic Records 2003) and from 'Drone#4' by Anomali from the album Drone & Tones For The Free (Microrama Records 2017).

AM crafts an original soundscape from extracts of ‘Fear Liath More’ by Alejandra Salinas and Aeron Bergman from the album Scotch Monsters (Softmusic Records 2003) and from 'Drone#4' by Anomali from the album Drone & Tones For The Free (Microrama Records 2017).

Repeat
Artwork
Soundscape

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