Contemporary sculpture

Philippe Fares designs and realizes forms in volume that interact most often with their direct environment. Mostly composed of regulated surfaces, his creative corpus is intrinsically linked to mathematics and geometry.

The artist proceeds essentially by permanent structural assembly to elaborate his works. Cement, concrete, ceramics, glass, metal or wood are the main materials used to create the sculptures.

When several different materials are involved in the production of a piece, the artist opts for a recurring bias: the combination of elements of the same hardness, with similar elastic properties.

The objective is to design assertive isotropic sets, all linked by structural coherence. He creates his compositions of curvilinear or rectilinear figures in a very homogeneous manner, as if they were melted into the topological folds of the descriptive geometry.

Simplified to the maximum, the works tend towards an abstraction where the colors have value of symbol. The combined use of dark hues, artificial light and telluric reflections is a way for the artist to ostensibly turn away from the figurative.

At the opposite of any aesthetic representation of reality, Philippe Fares’ plastic approach is oriented towards the expression of a form of material quintessence of the world. Since his teenage years, the artist has been interested in mathematics, concrete geometrical systems, and the ever-pushing limits of architectural constructions.

His works reflect the beauty he perceives in any entity conceived from theoretical or empirical sciences. Some of Philippe Fares’ sculptures are true prototypes and constitute pieces destined for eventual mass production.

They are the object of an elaborate design that may evoke certain spatial or voluminous creations. A former engineering professional, the artist has retained the sense of method and objectivity inherent to the scientific world.

His style is meticulous, detailed, and leaves little room for chance. His working techniques combine the use of the properties of matter with those of artificial light and its colorimetric spectrum.

As for his mastery of industrial design, perspective, shapes and descriptive geometry, it allows the visual artist to anticipate his aesthetic projects, whatever their complexity.

With “Sphere” and “Invader,” Philippe Fares has laid the foundations of a plastic research turned towards the transcendence of the treatment of light. Decomposed and projected on simple forms, light adds an astral dimension to the figures in presence.

Philippe Fares considers abstraction as an eloquent expression of the transience of the modern world. Like an analyst describing systems, appropriating and transforming them into 3D, he sees his creative gesture as a permanent navigation between unity and the global, between thought and practice.