The artist's latest creation, which marks a turning point and a return to line and drawing.
Philippe Favier - 315 Route de Peyrus
The artist's latest creation, which marks a turning point and a return to line and drawing.
Philippe Favier's latest creation 315 Route de Peyrus has its source in a vast ensemble created by the artist in Spring 2019, soberly entitled CARBONES and marking a turning point in his practice with a return to line and drawing. Made from carbon paper, this set is an opportunity for the artist to flatten his style and know-how in order to create, blindly, shapes or figures with refined lines. Indeed, carbon paper makes it possible - like no other process - to work blindly, to draw without knowing what is produced. Only the weight of the hand, the more or less ample gesture and the conciseness of a wrist movement give rise to variations. It is up to the artist to integrate them, to play them in order to better - in return - learn and be surprised. Each intervention is therefore an adventure or more precisely a learning of oneself. The 315 Route de Peyrus skyline, made with carbon and then printed in 8 copies on Canson paper 310 g is then enriched on each copy of drawings or threads. So many unique interventions by the artist on the place of a drawing drawn blindly.
315 Route de Peyrus
Data sheet
- Size
- 120 x 20 cm
- Edition
- 8 signed copies
- Technique
- Carbone drawing on Canson paper 310 g
- Publication date
- 2019
Favier (Philippe)
In Europe’s artistic scene, Philippe Favier is an example of a singular practice which has no real equivalent. Born in 1957, he has, since the 1980's, produced paintings where the motif becomes a simple ornamentation of a wider whole, without visible hierarchy and without any particular construction apart from the fact that it creates an off-camera, both physical and mental. There is in this artist, the idea that art should, above all, activate imagination. To achieve this he does not hesitate to introduce fascinating little figures, sometimes multiplied to infinity. Using the theme of vanities, death and skeletons, he fills his pages with ordinary but surprising objects that alternate with intriguing otherworld images. The important point for him, is that the book, the images, the story-path, are to be read and deciphered. The work is a synthesis between the pages full of crypto glyphs, and the page after-page succession of possible readings. Philippe Favier builds impossible works, without beginning, without end, without orientation, without any destination other than to lead us into unsuspected depths in our imagination. Time stretches, lengthens to infinity, takes different forms according to how we read.
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