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Julien Segard (b. 1980, Marseille) lives and works in Goa. Trained at the École nationale supérieure des Beaux-Arts, Paris, he works across drawing, painting, installation and film, with charcoal at the centre of the practice since 2005 — a material that inscribes and wears away in the same gesture, and that has come to carry the work's real subject: erosion, not as image but as process.
The work returns to three territories. The Étang de Berre, near Marseille — a childhood landscape, a lagoon ringed by one of the largest petrochemical complexes in the south of France — runs from Falimente (2012) through Bunker Archeology (2023) to The Edge of Memory (2026). Delhi, where Segard lived and worked for several years, supplies the undersides of flyovers, the underpasses and interstitial spaces of the megacity. Goa, where he now lives, yields a more vernacular register: the mended street chairs of Chouf, the shopfronts of Mapusa, and the rusted barge moored at Old Goa that became the site of The Barge (2025). Three geographies, one question — the blind spots of the landscape: structures raised for power or survival, decommissioned, then re-read and re-inhabited, and the slow return of vegetation into them.
Segard has been exhibited at the Fondation Pernod Ricard, the École nationale supérieure des Beaux-Arts and the Cité internationale des arts in Paris, at the Galerie du Tableau in Marseille, at PHAKT in Rennes and at HfBK Dresden. He has been represented by Experimenter, Kolkata and Mumbai, since 2015, with solo exhibitions including Anywhere but Here (2015), A Second Coming (2019), Dark Was the Night (2023) and Dancing at the Edge of Memory (2025). The Barge, curated by Veerangana Solanki, was presented at the Serendipity Arts Festival, Old Goa, in December 2025; his two-channel film In Praise of Shadows was shown there in 2022.
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