The title of Pascal Rivet's work Rase Campagne states the project directly. From his career punctuated by series with various strategies – hijacking, infiltration, disguise, reproduction – marked by the use of tools and mediums as varied as assembly, drawing, photo and video, painting and pyrography, Pascal Rivet intends to take stock. Not in a retrospective manner but in an observer's position, at the right distance, with the right amount of empathy and slight irony to evoke its element: the rural world, its people and its landscapes. Far from folklore, the artist has long seen the clash of a traditional peasant society with a contemporary globalized world occurring quietly. To evoke this profound change other than in productivist or declinist terms, Pascal Rivet uses his favorite weapons: imitation, the construction (in ordinary wood) on a real scale of small (chainsaws) or large (tractors) objects, the creation of genre paintings (rural landscapes, agricultural competitions), or machines – these powerful tractors, symbols of “progress” and often objects of competition – by means of pyrography or even embroidery. Rudimentary materials and techniques which, although they do not exclude titanium shaping, seem to date from before the Industrial Revolution. There are also the acronyms, the names, the titles poetically diverted from agricultural France, so many signs reflecting both distress and pride. A strong act is taking place here, a new way of considering the relationships between art and popular traditions.