Experimentation and research take precedence over his work in order to think of new materials and new uses. This accompanies his daily approach so that each project is conceived as a sculpture in its own right, between simplicity and technicality. His approach guides him towards a global approach but also unique in his creations, thus creating particular interactions between the user and the material, between know-how craftsmanship and industrial techniques, between poetic and expresif design.
Frédéric works on various projects, from objects to space, in series or limited editions and collaborates with prestigious institutions, brands and galleries. Since few years, his works concentrated specifically on development and research applied the ornamental and architectural stones univers.
The use of traditional materials is no coincidence. In the past, and still today, these materials have proved their worth and are firmly present in history. However, as time goes by and materials and know-how multiply, these minerals sometimes considered as “poor” become dated and I try to evoke the origin of their use. As they were the basis of modern home designs dating from a certain era, I like to modestly pay homage to that era by reinventing them and giving them a new function. By redesigning their original function, they become objects and are included in domestic spaces.
Architectural references are part of this archeological work which creates a mise en abîme of the heritage of symbols of construction in symbiosis with the codes of modern works. The ensemble therefore creates a strong identity at the crossroads of modern objects and historical roots. The result is a mastered, simple and raw aesthetic, controlled but also naturally freed. The creations are made from natural resources, some are sometimes transformed by man to form a balance. The inspiration for the creations comes from architectural codes being used as a creative lever. My work must be timeless, like a lasting, solid construction. Through simple but constructed volumes, the immersion of material in space is pure, as if the object had always been there, as if it were part of the walls.
I prefer a visual, obvious and sometimes primitive style but I find it to be reassuring and striking. The round and decorative forms respond to the straight and pure lines by alluding to the periods of ornamentation to the streamlining of space of the 90s. The tools and lines can be interpreted as the new, modern but elementary, architectural forms, just like monolithic and geometric sculptures. The sparing use of resources is clearly evident in a monumental dimension reflecting the idea of the scale of space where habitat and environment mix.