FAZIAN - GALERIE OBERKAMPF - PARIS - LE TEMPS DES ARTISTES

Fazian

Piercing through Appearances, Fazian not only sees what is visible, but he singularly reflects his vision into a vivid transposition of images and forms. Transforming the visible into imagery is not a way of abstractly cutting oneself off from the rest of the world, but a means of being linked to a world prospective.

We could offer several reasons for the artist's intent on doing so and feel he doesn't want figuration to be the unique presence in his creations, but gives form to the present within the unknown as such.The unknown behind the appearances. The unknown which maintains a dense enigmatic presence with the notion of visible reality. Not looking to confer upon the world a new fundament, nor using the trompe l'oeil technique, Fazian's work is hence not formally "surrealistic": it is above all, a thought process. For the artist, to create is to think and everything he thinks regarding the process of thought is formulated as a metaphor of what is visible also wih the abstraction and existentialist symbolism.

Fazian offers the eye a future of solemn dreams: that of reconciled humanity whose inward interaction constitutes its very essence. Everything in his creation is a piece of art history in present-day art; everything is part of the cultural syncretism which is so dear to the artist; everything aims at complete apprehension of the world and of mankind. As do the boundaries between the real and the image, Fazian's creations maintain visibility in a type of symbolic resume of sensorial events during which people and places become the idealised transposition of a change of scene.

Hence, sculptures and painting technically executed in a pure sketch of reality. They are a brief resume of the artistic demands of the artist. The series of 3-dimensional pieces are an active part of the mixing of matter. Made with a blend of metals, resin, recycled objects, assemblage, bronze powder and enamel glaze, they record the renewed experiments of the technical means used : a type of execution resembling to studio techniques. The use of these mediums for texture and structure offset the expressive possibilities of modelling process. Hence, a forest of hands may resemble trees, an underlying symbolism of peace and communion, expressing ideas of human activity, of spiritual effort or concentration.

In his premise of maturing, Fazian's works do not intend to just call upon the imagination, but suggest a mental order linked to cultural encounters.

Sophie D'Ingianni
Art Historian and Critic