The iconoclastic photographer Vincent Bonnet is interested in the image, in the conditions in which it makes its appearance, and in its territory of action. Well aware of the political scope of the occupation of the public place by every manner of reproduction, he challenges the mechanisms of this ubiquitous and invasive presence. In his oeuvre, multiplication and propagation develop a working principle which takes shape through varied forms of publication (magazine, post card, flyer...). The urban territory often lies at the centre of his work, it is one of its objects and its place of application. Playing with interference, he sets up strategies reproducing methods by which the image is publicly disseminated (be it commercial or political) and the poster thus becomes one of his favourite media. Vincent Bonnet's works often reproduce the violence of advertising aggressiveness, they play with some of its codes, and call for rejection by saturation. Everything has to be put away, down to the tiniest detail, in a furious order, like the image of a promotional image, repeating the folds, the spittle and the tears of the posters of a candidate in the latest presidential campaign. To this the artist has adjoined the bucolic and residual representation of a picnic which forms a diptych with "country" flavours. Scattered throughout the city, this excessively multiplied work has entered the battle field, and seems ready more than ever to continue hostilities.
Biographical notes translated with the support of the Centre national des arts plastiques - Cnap.