À peu de chose près. Lucie Rocher
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For over a decade, Lucie Rocher has been developing a photographic-sculptural practice based on the attentive observation of de-reconstructed spaces, where reality appears in a state of transition. She observes and captures fragments of architecture, unfinished facades, or structures in the process of being erected, in order to seize their intrinsic values. Whether dealing with an urban construction site, an abandoned building, temporary scaffolding, or an insignificant detail, her gaze lingers on the operations of reassembly and transformation that constitute them, even more so than on the places themselves.
The exhibition À peu de chose près, specifically conceived for ROSALUX, brings together three recent works—Les variables [The Variables], Les espaces négatifs [Negative Spaces], and Les possibilités obliques [Oblique Possibilities]—into a body of work that bears witness to a progressive shift of photography toward its spatial potential. Images are no longer merely fixed; they are rearranged on surfaces associated with construction. Manufactured wood, recycled PVC banners, and colored plexiglass become the supports for a reflection on the materiality of the image in the digital age, dominated by the algorithmic regime of AI. Today, daily life is filtered and predictable: rather than observing the mutations of the built world around us, we contemplate streams of images compressed within the luminous surface of our screens.
À peu de chose près evokes a minimal, almost imperceptible shift; an uncertain space in which a viewpoint or a material tips toward another interpretation of reality. In Rocher’s work, it is often transformations—a variation in the support, an imbalance of the framing by a few centimeters, an inversion of tones, a displacement of the gaze—that profoundly alter our way of perceiving photographed spaces. The image never appears as a fixed given; it remains a construction site of limitless possibilities. It constructs transitional moments from these unstable conditions by reworking photographic gestures and knowledge. The aim of her photographic practice is to reveal the successive transformations of her immediate surroundings and to render the subtleties of her working process perceptible in a different way.
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Originally from Paris, Lucie Rocher is a French and Canadian artist who lives and works in Tiohtià:ke/Montreal.
Lucie Rocher explores her personal archives, situating them in relation to the history of photography and its various materialities. She collects a wide variety of photographic subjects and repurposes materials and artifacts from her practice to bring them into dialogue with their immediate environments.
Holder of a PhD in Art Studies and Practices from the Université du Québec à Montréal (UQAM) and a Master’s degree in Visual Arts and Art Sciences from Université Paris 1 Panthéon-Sorbonne, she received the Research-Creation Excellence Award from the Faculty of Arts at UQAM (2026), where she also teaches photography as a lecturer.
She has presented solo exhibitions in Canada and internationally, notably in New York, Reykjavik, Takasaki, and Paris. She has also participated in several residencies abroad. Her works are part of private collections in North America and Europe.
Her first monograph, Duologies, was published in April 2026.
Jean-Michel Quirion holds a Master’s degree in Museum Studies from the Université du Québec en Outaouais (UQO). With over a decade of experience in cultural work, he has directed the artist-run centre AXENÉO7 (2019-2022) in Gatineau, and was the Co-General Manager, Programming, at the Centre CLARK (2022-2025) in Montreal. As a writer, he regularly contributes as an author to artist monographs and specialized magazines such as Ciel variable, ESPACE art actuel, Esse, Inter art actuel, Ligne, and Vie des arts. His curatorial projects have been presented at the Galerie UQO (2018) and AXENÉO7 (2019–2023) in Gatineau, the Carleton University Art Gallery (2022) in Ottawa, DRAC Art actuel (2022) in Drummondville, L’Œil de Poisson (2022) in Quebec City, l’Écart (2026) in Rouyn-Noranda, as well as ROSALUX (2025) in Berlin, Germany. Today, he is the Co-Director and Editorial Manager of the Vie des arts magazine.
With the support of the Québec Government Office in Germany
The exhibition À peu de chose près, specifically conceived for ROSALUX, brings together three recent works—Les variables [The Variables], Les espaces négatifs [Negative Spaces], and Les possibilités obliques [Oblique Possibilities]—into a body of work that bears witness to a progressive shift of photography toward its spatial potential. Images are no longer merely fixed; they are rearranged on surfaces associated with construction. Manufactured wood, recycled PVC banners, and colored plexiglass become the supports for a reflection on the materiality of the image in the digital age, dominated by the algorithmic regime of AI. Today, daily life is filtered and predictable: rather than observing the mutations of the built world around us, we contemplate streams of images compressed within the luminous surface of our screens.
À peu de chose près evokes a minimal, almost imperceptible shift; an uncertain space in which a viewpoint or a material tips toward another interpretation of reality. In Rocher’s work, it is often transformations—a variation in the support, an imbalance of the framing by a few centimeters, an inversion of tones, a displacement of the gaze—that profoundly alter our way of perceiving photographed spaces. The image never appears as a fixed given; it remains a construction site of limitless possibilities. It constructs transitional moments from these unstable conditions by reworking photographic gestures and knowledge. The aim of her photographic practice is to reveal the successive transformations of her immediate surroundings and to render the subtleties of her working process perceptible in a different way.
-----------
Originally from Paris, Lucie Rocher is a French and Canadian artist who lives and works in Tiohtià:ke/Montreal.
Lucie Rocher explores her personal archives, situating them in relation to the history of photography and its various materialities. She collects a wide variety of photographic subjects and repurposes materials and artifacts from her practice to bring them into dialogue with their immediate environments.
Holder of a PhD in Art Studies and Practices from the Université du Québec à Montréal (UQAM) and a Master’s degree in Visual Arts and Art Sciences from Université Paris 1 Panthéon-Sorbonne, she received the Research-Creation Excellence Award from the Faculty of Arts at UQAM (2026), where she also teaches photography as a lecturer.
She has presented solo exhibitions in Canada and internationally, notably in New York, Reykjavik, Takasaki, and Paris. She has also participated in several residencies abroad. Her works are part of private collections in North America and Europe.
Her first monograph, Duologies, was published in April 2026.
Jean-Michel Quirion holds a Master’s degree in Museum Studies from the Université du Québec en Outaouais (UQO). With over a decade of experience in cultural work, he has directed the artist-run centre AXENÉO7 (2019-2022) in Gatineau, and was the Co-General Manager, Programming, at the Centre CLARK (2022-2025) in Montreal. As a writer, he regularly contributes as an author to artist monographs and specialized magazines such as Ciel variable, ESPACE art actuel, Esse, Inter art actuel, Ligne, and Vie des arts. His curatorial projects have been presented at the Galerie UQO (2018) and AXENÉO7 (2019–2023) in Gatineau, the Carleton University Art Gallery (2022) in Ottawa, DRAC Art actuel (2022) in Drummondville, L’Œil de Poisson (2022) in Quebec City, l’Écart (2026) in Rouyn-Noranda, as well as ROSALUX (2025) in Berlin, Germany. Today, he is the Co-Director and Editorial Manager of the Vie des arts magazine.
With the support of the Québec Government Office in Germany
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Where is it happening?
Wriezener Str.12, 13359 Berlin, Germany, Wriezener Straße 12, 13359 Berlin, Deutschland, Berlin, Germany
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