"Je s’aime", the edition realized for Bernard Chauveau Éditeur and Le Néant éditeur, works as an open game whose rules are subject tomodification and interpretation.
An undefinable artist, Fabrice Hyber has never stopped rattling the art world with his POF (prototypes of Working Objects). His unclassifiable exhibitions transform museums into supermarkets or hairdressing salons.
He puts the concept of the rhizome at the heart of his practice. From this, a thousand concepts may flicker through hismind, a thousand solutions be considered, themost interesting being explored in drawings and watercolours. Then comes the object time, and more painting and drawing. The arborescence of Fabrice Hyber's activities is infinite and limitless, working by hybridization, by mutation, by gliding fromone domain to another, establishing links between varied forms that always have a social or political side to them. Nothing is definitive, everything is fair game, available to appropriation, or displacement between the senses.
"Je s’aime", the edition realized for Bernard Chauveau Éditeur and Le Néant éditeur, works as an open game whose rules are subject tomodification and interpretation. Regularly the artist produces "homeopathic paintings", vast canvases on which notes, sketches, annotations and lots of drawings are pasted, a kind of story-board which charts his activities. In the present edition, Fabrice Hyber has chosen to give to each player the opportunity to compose for himself a homeopathic painting. In each case there are 112 drawings (20 x 20 cms) which can be arranged like a game of cards on a green felt mat printed on both sides and measuring 150 x 150 cms.
Each player is free to compose his painting, using the cards in
any arrangement and extending beyond the frame of the felt. They can climb walls and spread across ceilings, creating a "dreaming and imagination room" that will be unique each time. With its unending possibilities for new arrangements, Je s'aime provides the tools and opportunity for each of us to explore our artistic potential, and become authors of free expression.
This is a limited edition of 200 sets, each signed and numbered by the artist. Each set with its 112 cards and the feltmat is housed in a box 45 x 45 cms, and includes the rules of the game. ISBN 9782915837780.
The first 20 sets will be a special edition. Each includes an original intervention by the artist on the felt mat. These sets are presented in a luxurious wooden casket, designed by Fabrice Hyber, and on which the title has been screenprinted. ISBN 9782915837797. Price on demand.
|Size||42 x 42 cm|
|Justification||Signed and numbered|
|Technique||112 drawings in a box Green Felt with silkscreen|
All of Fabrice Hyber’s work is conceived in the form of a giant rhizome, the growth of which is based on echoes. The artist uses accumulation, hybridisation and mutation to create constant shifts between extremely varied domains. Each work is just an intermediate, evolving stage of this “work in progress” that spreads like a proliferation of thought, establishing links and exchanges that then help to create other connections. The process is inspired by the way in which the cell systems grow in living organisms, with immigrant and feeding flows, reflecting the passion for science that motivates the artist, who trained as a mathematician.
Drawing, which is the essential embodiment of Fabrice Hyber’s artistic thinking, is at the origin of all his works, and is even incorporated into his Peintures Homéopathiques (Homeopathic Paintings), these large paintings that the artist designs as story-boards containing all his thoughts and creations on a theme over a number of years. From these drawings emerge paintings, sculptures, installations, videos and POF – Prototypes d’Objets en Fonctionnement (Prototypes of Objects in Operation) created since 1991, the forms of which engender unusual behaviour, such as those imagined in 2005 for Angelin Preljocaj’s ballet Les quatre saisons (The Four Seasons).
His protean art is also rooted in every field of expression of life and proliferates in many forms. In 1991, he held the record for making the world’s biggest bar of soap, designed as a self-portrait; in 1994 he founded a limited company to encourage dialogue between artists and companies; in 2001 he started up the C’hyber rally, and also spent four years creating l’Artère, a monumental ceramic border installed in the Parc de la Villette, Paris, in 2006.
In recent years, his pictorial work found expression in teeming canvases, often covered with Epoxy resin, with complex compositions full of substance.
The important monograph Hyber, published by Flammarion in 2009, reveals all the power of the artist’s work, who, to date, is the youngest to have been awarded the “Golden Lion” at the Venice Biennial, in 1997.
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