{"id":297,"date":"2024-07-16T22:27:47","date_gmt":"2024-07-16T22:27:47","guid":{"rendered":"https:\/\/samuelperche.com\/?page_id=297"},"modified":"2026-05-19T05:40:30","modified_gmt":"2026-05-19T05:40:30","slug":"accueil","status":"publish","type":"page","link":"https:\/\/samuelperche.com\/en\/","title":{"rendered":"Home"},"content":{"rendered":"
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\u201cWe love the real body, fragile and vulnerable, and not the ideal and tyrannical body of the norm. <\/em><\/p>

We know almost nothing about the living body. <\/em><\/p>

We must therefore love it where it expresses itself: in its trembling fragility.<\/em><\/p>

Paul B. Preciado, 2020<\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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sam\u00b7e<\/h1>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Through a queer practice of sculpture and painting,<\/p>

Samuel Perche seeks to deconstruct heroic virility<\/p>

and to politically question bodies and their representations.\u00a0<\/p>

They now sign under the pseudonym of sam\u00b7e<\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\u201cShifting masculinity from the register of domination to that of sensitivity: my work engages the body as a site of conflict, memory, and resistance. By using the codes of virility and monumentality, I seek to disrupt the legibility of a political regime of representation in order to reveal situated, vibrant, and emancipated bodies.\u201d<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\"Here I am, ready to explain how bodies <\/em><\/p>

have transformed into other bodies.\"<\/em><\/p>

Ovide, Les M\u00e9tamorphoses, 8 ap. J.-C<\/em><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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the metamorphs<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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the metamorphs <\/em><\/strong>explorent, en trois sculptures, les processus de transformation du corps queer hors des syst\u00e8mes normatifs qui l\u2019assignent.<\/p>

Entre figuration et abstraction, la repr\u00e9sentation abandonne l\u2019identifiable au profit de formes instables, hybrides et non assignables.<\/p>

le corps est envisag\u00e9 comme objet transitionnel : un espace m\u00e9moriel de vuln\u00e9rabilit\u00e9 et de r\u00e9sistance.<\/p>

Les volumes r\u00e9v\u00e8lent des identit\u00e9s plurielles et monumentales qui investissent l\u2019espace avec fiert\u00e9 et interrogent notre rapport aux autres corps. Du bois de r\u00e9cup\u00e9ration \u00e9mergent des sculptures silencieuses, anguleuses et arrondies, suspendues comme dans un mouvement immobile.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\n\t\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\tLien vers la collecte participative Kengo.bzh<\/span>\n\t\t\t\t\t<\/span>\n\t\t\t\t\t<\/a>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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The Embraces<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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These two entwined bodies, suspended between passion and loss, evoke both the abandonment of love and the Piet\u00e0. They remind us that \" the personal is political\"<\/em> when it enters the public sphere. The geometric fragmentation breaks with academic gentleness: the figures seem reconstructed, like identities shaped by history. Here, the body is assemblage, a performance of matter and repeated practice. The body, as \"living political fiction\" <\/em>appears as a meticulous and deliberate construction.<\/p>

Made from pallet wood, the work transforms waste into flesh and turns precariousness into a symbolic strength.<\/p>

The Embraces<\/strong> elevate queer love to a monument.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Lender \nGandscape<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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La r\u00e9utilisation de l\u2019image-mod\u00e8le, associ\u00e9e \u00e0 son horizontalisation, agit comme un outil de d\u00e9placement des repr\u00e9sentations du genre. Les retournements successifs en modifient la compr\u00e9hension ; et le regard port\u00e9 sur une image initialement inscrite comme une repr\u00e9sentation sexualis\u00e9e de l\u2019homomasculinit\u00e9 bascule vers le paysage.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Elwen<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Tadig<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Martin<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Dennis<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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De 2020 \u00e0 2025, de l\u2019\u00eele de La R\u00e9union jusqu’\u00e0 la Bretagne, la s\u00e9rie NO\u00b7MAN\u00b7MEN<\/strong> explores a morphology of masculinity and challenges the myth of the triumphant and conquering male. At the boundary of fantasy, reality, aesthetics, and politics, the paintings are conceived as sculptures or flawed images, derived from failed photographs, intimate visual fragments, sometimes hidden on a phone screen: marginal images circulating outside the dominant frameworks of legitimation.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Mano<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Le souffle<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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Le Minotaure<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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Lovers 3<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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Week-end \u00e0 Ploumanac'h<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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Greek Guys<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\"Nikos\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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Ali<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\"sculpture\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\"sculpture\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Sculpting the unspeakable<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Aude-Emmanuelle Hoareau, 2017\n\nPhilosophe (1978-2017)<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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How do you tell a tragic, complex story in a single figure? How do you contain the power of desire and the fabric of a human life in matter? Samuel Perche responds to these challenges with a sculpture that presents a man lying on his back, leg bent, inspired by a photograph of a migrant who died at sea, taken by Aris Messinis.\u00a0<\/em><\/p>

\u00a0<\/p>

For philosopher Giorgio Agamben, the legendary Greek statues that break their shackles to begin moving break a \u201cligatio\u201d, a paralyzing power that is at work in every image. They give back to the image the freedom of gesture. As here, the image is that of a movement of the whole body, which arches its back and offers itself to the infinity of the sky, between ecstasy and imminent, almost certain or already-occurred death. We are dealing with a gesture in the broadest sense of the word, with the intention of a movement that cannot be enclosed. The wooden man is too large to be entirely consumed by the sculptor's creative appetite or devoured by the public eye. With its scale and ancient inspiration, it leads us to look beyond, to Greek myths, towards an epic destiny with which today's refugees merge, taking to the sea to fulfill their destiny and often ending up as martyrs of the waves.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\"Ali,\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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David<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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Torse<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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L'amour d'apr\u00e8s d'apr\u00e8s<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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Adam<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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Gurvan<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\"peinture\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\t\t\t\t
Asad<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\"peinture\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\t\t\t\t
Selfportrait 2<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>","protected":false},"excerpt":{"rendered":"

\u00ab Nous aimons le vrai corps, fragile et vuln\u00e9rable, et non le corps id\u00e9al et tyrannique de la norme. Nous ne savons presque rien sur le corps vivant. Il faut donc l\u2019aimer l\u00e0 o\u00f9 il s\u2019exprime : dans sa fragilit\u00e9 tremblante. \u00bb Paul B. Preciado, 2020 sam\u00b7e A travers une pratique queer de la sculpture […]<\/p>\n","protected":false},"author":1,"featured_media":6555,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"class_list":["post-297","page","type-page","status-publish","has-post-thumbnail","hentry"],"yoast_head":"\nSamuel Perche – sam\u00b7e – Artiste queer<\/title>\n<meta name=\"description\" content=\"D\u00e9couvrez l'univers artistique de Samuel Perche aka sam\u00b7e, artiste queer et militant\u00b7e LGBTQIA+.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/samuelperche.com\/en\/\" \/>\n<meta property=\"og:locale\" content=\"en_GB\" \/>\n<meta property=\"og:type\" 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