1998
Colour print, 30 x 45 cm.
Process: a one-shot pose with a body painted model in marble colours.
Photo-Video
Recording devices are great when it comes to investigate reality. They take visual culture to a broader horizon and give us a sense of relativity of things. When direct observation is not possible, photo and video are there to gather data on the unsuspected. Shots and stills are part of all phases of my process, sometimes at starting point and other times at the end of the line. The pictures I get from Internet help me learn about small and far away stuff witch otherwise I wouldn’t be aware of.
Using these extraordinary tools leads to two processes: an impulsive and instructive one which consists in capturing instant pictures in my comings and goings and a conceptual one where individual pictures and series are taken from scenes that I initially totally staged and fabricated.
Using these extraordinary tools leads to two processes: an impulsive and instructive one which consists in capturing instant pictures in my comings and goings and a conceptual one where individual pictures and series are taken from scenes that I initially totally staged and fabricated.
Masculin marbré
1998
Prints taken with a Yashica double lens reflex camera, 13,5 x 13,5 each.
Process : snapshots taken when walking through the Old Port of Montreal in company of a blue body painted young man.
Another ordinary day
1997
Triptych : a mixed media composition with soil, leather belt, garbage bag; an aerial black and white photography; a black and white photography of a TV screen, 61 x 61cm each.
Image source : a photography taken by plane over Montreal; a freeze-frame taken from the television showing a handcuffed person spitting into the camera on the daily news.
Résistance
1997
Five colour prints laminated on masonite, 1,53 x 2,44 x 0,8 m
Process : two body painted young women and a young man spent time chatting and laying around in an allover painted room while my camera was waiting for a shot that would challenge our perception of gravity. To give a sense of depth to the final photography, drippings were painted on strips of canvas, photographed, then the prints laminated on the four sides of the frame.
Quotation from Lucinda Catchlove : « une photographe illusionniste […] qui mélange photographie, peinture et costume pour créer des images uniques qui célèbrent la beauté et l’humanité en même temps qu’elle repousse les conventions et limites esthétiques de ces médiums avec un humour effervescent ». Exhibition catalogue of L’entrespace/The space between, Saidye Bronfman Centre.
L’intruse, Courant continu, Eliane, Marie-Anne et John
1997
Three colour prints laminated on masonite, galvanized steel frames, 1,53 x 1,53 x 0,21 each.
Process: a group of large photographs part of Follicules, an exhibition in collaboration with Nathalie Fontaine. Once body painted three friends entertained themselves in an all over painted room.
Quotation from Lucinda Catchlove:
« Rather than defining, documenting or categorizing, as photography often does, Fékété’s work is about the painterly manner of seeing, focusing on and expanding the painterly object into the photographic medium ». Cathlove, Lucinda, Hour Montreal, « It’s alive, Sofie Fékété uses the camera to find painting’s soul. », Vol 5, No 20, May 15-21, 1997.
Corrupts
1996
Selection of prints partially altered.
Process : prints developed before the digital era with some having been altered by natural processes like microscopic mushrooms and others accidentally by chemicals.