From light to dark, Fabienne Cresens is a Belgian autodidact photographer. Born in Africa, she has not stopped to widen her field of art from the age of seventeen, from film to digital until the photophone now, using what she calls photographic objects which open the way to new fruitful experiments she mostly conducts in Brussels, city in and of creation (s). When our perception of reality is asphyxiated to the point of giving birth to the doubt about the verity of what we see, and of throwing the confusion into the consciousnesses, Fabienne Cresens works on the archeology of reality, its falls and its beauties. It's all the subtlety of the long-term work of Fabienne Cresens. It escapes all the binary shares. It makes path (s). It is in this wake that the exhibition La Montée des Eaux seems to be conceived; the idea of a black and white series of watchers wearing swim caps, which is stretched between the little true fact and the destiny of humanity.
In La Montée des Eaux by Fabienne Cresens, these are thoughtful faces, strange landscapes, passionate moments that we run through and look at, immersed into the universes penentrating us, where the ''I'' and the ''we'' are spilling. We come out different and transformed by a question: ''What do these images evading from matter and time want? What do they want from me?''
At the heart of Fabienne Cresens' work, there is the broken, dark vision, rendered to lyricism. However, it's a lyricism that wants to be deeply realistic and humanistic in, between and together with the images. There is something subtly poelitical, which is narrative, political and aesthetic at the same time.
Since 2009, the photographer takes a look without concessions but not devoid of softness on a reality that many of us still refuse to see: climate change. Today, she surprises us creating a black and white photographic series of pure attention to her environment, to human beings and to the animals that make part of it.
Here, Fabienne Cresens approaches to a face as close as possible, from child to adult, known or less known, as if it were seen for the first time. The face is naked, simple and overwhelming, surprisingly alive. It tells, eyes open wide and mouth shut, something about what people do to mountains, forests, glaciers, heaven and earth. Here, the fixed face goes to the essential with a view to embody a responsibility, a vigilance, an attitude towards the powerful destruction of the elements in rage - torrential rains, floods, devastating winds, storms, cyclones or tsunamis.
The series La Montée des Eaux isn't overloaded with explanatory pedagogy or cheap moral considerations in order to say ''no'' to the nightmare of ultimate annihilation. In a heady softness, it imposes a look full of sensitive and magnetic acuity. Its tiniest upheavals, its ascetic beauty, its silent revolt are the sign of a possible (re) birth to the world, of another step. Hic et nunc, the faces never sleep.
Sylvia Botella, January 2019