François Patoue
ART TABAC
10.APR.2025




Drugged with prescription morphine, nineteenth-century Morphinées were reduced to so-called pathological symptoms, idleness and other pleasures that did not include the company of men, and were widely criticised in the press, literature and the arts. This moral condemnation not only narrows the addiction to the substance consumed but, in this case, essentializes women at the same time. It denies that substances exist only as practices, which are much broader: a practice that takes into account the individual, the context, the social environment and the totality of the multiple associated experiences. Thinking of drugs as practices means approaching users as active people, building a relationship with the substance. The agentivity that individuals demonstrate when they enter into such a relationship bears witness to an emancipatory affirmation, an ability to choose freely according to their intuitions. The practices that surround our relationship with a substance allow us to negotiate with reality, to gain autonomy and experiment with our own desires. 
       Drugs are a complex mix of powers and constraints, pleasures and addictions, introspection and egotistical delusions, freedoms and addictions, therapeutic and alienating.
       All drugs. 
       And not only drugs.  
       Art. Tobacco. Choose your hell. Every practice suggests skills: taking drugs —whatever the substance— is no exception. Reducing the risks. Knowing how to dose. Recognising the products. Navigating the experience itself. Managing addiction and dependence. Knowing how to do without. Quitting. Learning to deal with what we are—a malleable material of alterable experiences, conscious and unconscious, whose new perspectives are sometimes enough to give us the perspective we need to leverage what we aspire to. Time to distinguish which of our desires will inspire us favourably. What substances will have the action of a crowbar to create a gap within a constraining system, to deploy a power to act on existence, not as an absolute metaphysical freedom, but as a concrete reality of self-experience?

      Cigarettes, like other stimulants that correspond to the demands of capitalism, grant a micro-space of freedom (about 8 minutes)—just long enough to savour something for yourself, even if it destroys you slowly. A cigarette is also a licence to disappear, a desire to be absent, to escape from social obligations —whoever loves me follows me to the smoking room— just long enough to enjoy a smoke. It's about granting yourself authority over how you decide to live your life. Smoking kills, yes, and makes you enjoy your right to self-determination, in a small act of resistance to norms. Enslavement to nicotine is certainly not an ideal condition, but it is a practice that allows you to conquer a micro-dosed autonomy. 

With Art Tabac, François presents a kaleidoscopic (self-)portrait of man, cigarettes, romanticism and cynicism.
      The pictorial tradition of portraiture is deployed here in reflective mirrors, big eyes staring back at us, despite their blindness.
In a mutation of the pmu-style exhibition experience (a pmu is generally a vernacullar bar and tobacconist's shop, but above all it's a meeting place of social mixing), it's a giant, collective smoke break, addressed against disappointed worldliness. Smoking, as if to breathe easier; the painter's first gesture before preparing his web, like the spider. Smoke, like the bubbles in comics, where we can already access the character's thoughts. The presence of the artist himself—light a cigarette and you'll already be closer to François; non-smokers, consider the paintings as passive smoking. 

François is the most tactile painter I know. With colours, with his hands, he caresses canvases like bodies he has always loved. Before our eyes, paint absorbed by tightly woven cotton stretched over metal. Ashtrays. Cadmium surfaces. Brush-cut shapes, colour beaded in shades. Front and back. The canvas is pierced on both sides. 


      A man of culture is the term used by La Fève, a phrase that clarifies the way in which we are the product and waste of our environment, toxic and necessary, under the influence of the narrative of success and glory with which we have identified. François has not escaped these myths; less Patrick Bateman, more Pete Doherty. His proposals require going beyond the screen that binds the artist to his practice and sometimes encumbers it. Always, in fact. This thick skin that is the image of oneself, imprecisely reflected back to others, carries a contemporary cynicism: it implies an extreme melancholy, strangely combined with the pugnacity of his own relentless work, despite constant and persistent doubts. The artist is a Joker, condemned to anonymity, a clumsy Harlequin or a clown when the mask is too heavy to pierce the man hiding behind its thickness. Among the systems of constraints that each of us faces, if our addictions endure, it's because they also belong to the forces that open up possibilities. Whether it's morphine, cigarettes, or even art, they are neither distant in their practices nor in their expertise.
      It's easy to understand the lure of getting high in the 19th century, and in the same way that there will always be a painter struggling to be happy in their small studio, shaped by the cultural heritage to which we have all been exposed, and who, sitting on a chair, smokes in front of canvas-covered frames.


a§s

François Patoue, Three masks symphony, huile sur lin belge, 24 × 30 cm, 2025

François Patoue, sbagliatosbagliato, oil pastel, found book cover, 2025

François Patoue, Naomi,
oil on Belgian linen, 50 × 60 cm, 2025

François Patoue, Just hold on we’re going home, collage on raw cotton canvas, 200 × 300 cm, 2025

François Patoue, Lighthouse, glazed stoneware ceramic mounted on steel, 110 × 30 cm, 2025

A multiple is published and distributed on the occasion of the opening.


Impressions of the exhibition text by Eléonore Bonello The bar was tended by Eléonore and Renaud Flowers were provided by Renaud

Work in progress
experimentations

experimentations
Work in progress
experimentations
Work in progress
Montage, ART TABAC
Communication
Préparation du multiple édité à l’occasion de l’évènement
François Patoue, Naomi, 2025
François Patoue, Naomi, 2025

experimentations
experimentations
Work in progress
Work in progress
Work in progress on the tobacco carrot, with the help and wise advice of Naomi Gilon
Recherches
Work in progress on the tobacco carrot, with the help and wise advice of Naomi Gilon
experimentations
Montage, ART TABAC
Opening, ART TABAC
Opening, ART TABAC
François Patoue, SBAGLIATOSBAGLIATO, 2025
François Patoue, Just hold on we’re going home, 2025
experimentations
experimentations

“HAAR TABAC”, a bottle of cosmetics offered at the Place du Jeu de Balle

Work in progress on the tobacco carrot, with the help and wise advice of Naomi Gilon
experimentations
experimentations
Creation of the solid perfume (cold tobacco scent), part of the multiple published for the event
Creation of the solid perfume (cold tobacco scent), part of the multiple published for the event
Montage, ART TABAC
Gifted flowers, ART TABAC
François Patoue, Three masks symphony, 2025
François Patoue, Three masks symphony, 2025

 
Multiple published as part of the exhibition