INVASION (2019) Sculpture by Philippe Fares

Sculpture - Acrylic, 10.6x15.8 in
$3,173.48
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UN TUBE QUI, CONTRAIREMENT AU TORE, NE SE REFERME PAS SUR LUI-MÊME Il s’agit d’un solide géométrique, représentant un tube en aluminium courbé à 540°, qui, contrairement au tore, ne se referme pas sur lui-même. Pour obtenir cette forme hélicoïdale, le plasticien a travaillé l’objet brut, dans la longueur et dans son enveloppe de protection[...]
UN TUBE QUI, CONTRAIREMENT AU TORE, NE SE REFERME PAS SUR LUI-MÊME

Il s’agit d’un solide géométrique, représentant un tube en aluminium courbé à 540°, qui, contrairement au tore, ne se referme pas sur lui-même. Pour obtenir cette forme hélicoïdale, le plasticien a travaillé l’objet brut, dans la longueur et dans son enveloppe de protection – une précaution nécessaire afin d’éviter toute altération de la surface. Le matériau utilisé est de l’aluminium peu épais et demeure très fragile.

Dans un deuxième temps, Philippe Fares a pixélisé l’objet avec dix lampes électroluminescentes bleues, télécommandées. En parfaite harmonie avec l’aspect monochrome de l’objet, ces dernières résonnent avec la brillance du métal.

Comme on peut le voir, la sculpture a été investie par une colonie de fourmis, sur toute sa surface. Cette invasion soudaine est peut-être une réponse au bruit du fonctionnement de ce qui pourrait être une turbine Francis.

DES FORMES SOUPLES ET ARRONDIES

Lorsque l’objet est plongé dans l’obscurité, et que l’on actionne la télécommande, il s’illumine dans un halo bleu, autour des diodes scintillantes.

La projection circulaire de lumière autour de l’Hélicoïde, ancre alors celui-ci, dans l’espace et le temps. Au cœur de cette brume bleutée, on distingue l’entité enroulée sur elle-même comme quelque chose de bienveillant. Cette forme aux allures organiques est le produit de calculs mathématiques, qui datent de l’époque d’Archimède (200 av. J.-C.) et de sa fameuse vis sans fin.

Sous un angle artistique, le design de l’œuvre repose sur des formes souples et arrondies. Le métal choisi reste cohérent avec la froideur de l’éclairage et les considérations fonctionnelles de l’objet sont suggérées. Avec cette hélice circulaire, Philippe Fares a souhaité rendre hommage à tous les hommes de sciences qui se sont penchés sur le problème des hélices motrices ou réceptives.

Related themes

GéométriqueIndustrieNatureFourmisTurbine

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Philippe Fares is a contemporary French artist, whose journey has been profoundly shaped by diverse cultures and the interplay of art and science. His unique perspective, honed[...]

Philippe Fares is a contemporary French artist, whose journey has been profoundly shaped by diverse cultures and the interplay of art and science. His unique perspective, honed by a childhood spent in sub-Saharan Africa, is a testament to his early exposure to the world of art, particularly the influence of Primitive Arts. Returning to France at the age of 16, Philippe embarked on a path that allowed him to cultivate his understanding of Western Arts while pursuing scientific studies.

Philippe Fares' artistic works are meticulously constructed using scientific methods and meticulous planning. His creations often feature a recurring tiling pattern, a meticulously balanced interplay with chance. This synthesis of meticulous design and the unpredictability of chance lends his works a dynamic and intriguing quality.

One of the defining features of Philippe's sculptures is his incorporation of light, whether through LED or Halogen sources. This infusion of light imbues each piece with a unique chromatic field, magnifying the contrast of the leading lines within the sculpture. Philippe understands that, in his art, what truly matters is the relationship between colors, dimensions, and positions. He views the proportion between the horizontal, the vertical, and the depth as a reflection of the three dimensions that envelop us, as well as the opposing forces that often govern life and space—the interplay between existence and non-existence, abundance and scarcity.

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