Inks
At the beginning there is a diving in the microscopic universe of the forms,
in the folds of the embryonic life. The drawings with the ink of BF know laws
of formalization, proliferation, and expansion, similar to those of any micro-organism
under development. The artistic production of BF is a biology in act, a morphogenesis
led by the dashes convulsifs of the improvisation: the forms are not really
“chosen” or programmed but they are built, result from a movement
generated originally by a pressing need for appearing. Taken in the cycle
of a stopped fertility, the drawings fertilize the ones the others, the ones
by the others, the ones in the continuity of the others according to unexpected
rules of reduction, according to chances' of a capricious hybridization: asexual
reproduction for forms sensuellement fertile.
SEA:
Macrography of the Elements of Reproduction.
Worked
out starting from inks on paper, macrographies are on a greater scale, the
replication. They are transposed versions, transposable, which, in movement
of transmigration will be freed from the paper sheet to come to be grafted
on the wall. They are spontaneous accretions which are fixed on a new space,
extraposées forms whose presence intensifies by the play of
the colors and the texture of surfaces in which they are woven. To transcribe,
retort, duplicate: macrographies proceed of properly pictorial genetics. According
to a process of regeneration, the figures éromorphes of BF,
conceived starting from an originating matrix are released some gradually,
to reach through a masterly deployment a spectacular autonomy.
Oceanic
paintings
Water of the ocean abounds under their monochromic surface in extinct richnesses
which will finish their race on the sandy banks. BF works starting from oceanic
slags, of micromondes marine, what the currents hawk and spread out over the
shore. It draws from the natural resources, in the abysses of the sea, the
immense repertory of this moving body whose it accomodates the gifts. The
first operation consists in collecting, with glaner these vestiges buried,
deposited by the waves. Algae, shells, bones of dry, arethe materials which
will be used as raw material to BF. It will find the use of it by breaking
up them, while making them compatible in the form of powders or compoundings,
with the more traditional components of painting. New transmigration, new
transfiguration of the organics, but that the painter operates this time starting
from drained matters, forsaken; solitary residues that BF tears off with their
disastrous destiny by disseminating them in the infinite horizon of the table.
Romaric Favre
Assistant de conservation au CAPC Musée d'Art Contemporain