« Léo Fourdrinier’s artistic work takes us back  to our most primitive instincts, to our animal side. He celebrates the connection between humanity and animal gestures.

The artist plunges us into the twists and turns of mythology, highlighting the representation of the bird as a totem animal. He invites us to explore the hybridisation between human beings, the animal kingdom and the chimerical world, paying particular attention to the figure of the angel. This fusion of human, animal and chimera questions the boundaries between reality and imagination. The angel emerges as a celestial chimera, a symbol of transcendence.

The connection with others can be established through a courtship ritual that gives us a glimpse, beyond movement, of the possibility of a spiritual connection with our environment. The very idea of surrendering to the world, of opening up to others, to beliefs and divinities, is present. The temporal divide becomes the common thread between the rituals of love and religion, creating a dialogue between past, present and future.

The emergence of idolatry manifests itself through love for a person, divinity and above all Nature. As human beings, we are the creators of idolatry, making offerings of the various elements found in “The beginning of temporality”, which expresses the movement of the heart, and “Le masque et le vertige”, which refers to Roger Callois’s theorisation of play. According to Callois, play is an activity that is present not only in humans, but also in the animal kingdom, and he compares human playful activities to animal behaviour.

The egg, symbol of the origin of all things, both in the fusion of two beings and in the most mystical beliefs, places each individual in the infinite cycle of eternal recommencement. In the ritual section, every gesture becomes a ritual, a celebration of the sacred. The cosmic egg, emblem of rebirth and regeneration, recalls the myths of Hercules, Diomedes and Genesis, reminding us of the beginning of all creation.

Explore the myth of Prometheus and plunge into the unlimited perception of relationship, symbolised by the sacred fire, which represents perfect, infinite love. The simulacrum manifests itself through this infinite connection of love. New modern gods are emerging in our world, offering a glimpse of a future shaped by technology, consumption and movement, mimicking animal gestures and immaterial environments. Baudrillard invites us to reflect on the link between simulacra and simulation, where birds and drones, in ‘#free reality (1)’, refer to a sonic reality that transcends the tangible.

In ‘The endless goodbye (Prométhéus)’, explore  the non-finiteness of relationships and the idea of perfect love, through a journey punctuated by profound reflections on balance. Every feather,  every gesture is part of the universal dance of harmonious global coexistence. ” Tous tes gestes sont des oiseaux ” (All your gestures are birds) opposes telluric forces.

In his reflections on the visible and the invisible, Merleau-Ponty explains that the visible/Nature/logos “must be presented without any compromise with humanism, nor with naturalism, nor with theology – it is precisely a question of showing that philosophy can no longer think according to this division: God, Humanity, creatures. ».

— Julien Carbone