Fabrice Ausset

Interior designer, architect

Creative director, Scenography of the Art Elysées fair

On the design side, the fair Art Élysées showcases contemporary design, with the decorator and designer Fabrice Ausset who will sublimate the entrances to the pavilions through a scenography that invites us to discover his poetic, whimsical and magical universe. He draws his multiple inspirations from different time periods, continents and forms of art. As an enlightened collector, Fabrice Ausset is a passionate and relentless seeker. He unearths the most rare and incredible pieces.

" Digging deep into materiality, imitating nature & enchanting technology "


For FA, a collection is an object in itself. It is natural for him to evolve from a jewel box to a gem, as everything is a finite universe through which he creates a gateway to something else. And from this double contradictory fascination for the unique object and the collection there emerges an obsession: the micro architecture. The pavilion that is partly work of art, partly an object of design and partly an architectural masterpiece.

This is the whole story behind his Studiolo, created in 2016 for AD Interiors. Its walls made of metal cloth make it into a tent. Its clever composition of treasures makes it into a thieving magpie’s nest or a refuge for Alibaba’s forty thieves. Its organic volumes, shadows and volumes transform it in turn into both a kind of Plato’s cave and the rabbit’s burrow that takes Alice to her Wonderland. The fireflies are not far away and you start to dream of an outside, of a world where fabrics become structure, where light is framed, where right angles are banned and where caves are mobile. Let’s at least be nomadic in our dreams!


The cave has no existence except in the negative. Its volume and the beauty of its details impose themselves in the hollow of the rock. The same applies to sculpture. Sculpting materiality means removing clay or stone from the block to make it into a shaped object. The action of subtracting enables to add a soul, a breath, a something. FA creates «inhabited sculptures», he also speaks of «hollow shells of light» because he has the ambition to shape these interstices, voids and silences.

This ambition, that is almost Japanese in spirit, cannot be realized without his famous plea for attention, so dear to FA. Attention-capture, attention-scanning, a thorough analysis of people and things, uses and reveries.

Fabrice Ausset frames natural light to create paintings, constructed points of view, dynamic still lives that change with the seasons and the hours of the day. He uses it when he respectfully places works of art in a certain order to make them stepping-stones toward another reality. He uses it when he creates spaces for life and for circulation, those voids so fertile to the imagination. Because this emptiness is incredibly full. It is this void which make breathing and vibrations possible. And it’s from this void that light appears. And it’s the light that generates a new vision of volumes and colors. In these ergonomic and recreational spaces decomposed into active waiting areas with interactive tables, counseling rooms, market rooms, children’s play areas and relaxation and exhibition areas, contemporary mate­rials such as corian, lacquered anthracite or polished stainless mirror were selected.


According to FA, light and colors are like music as their reception is cultural and they become more and more refine with experience. He proposes a disruption of references and boxes, this same disruption that enables gastronomy to allow sweet and salty, mellow and crunchy to coexist. He proposes a superposition of layers of meaning at the same time clever, complex and full of meaning.


Fabrice Ausset is very sensitive to the spirit of the times and our time is unique in that it witnesses the last shudders of the most advanced craftsmanship and the birth of a technology that is about to make human manufacture obsolete. Technology allows randomness, it permits one to imagine the same unstable forms as nature.

He seeks an answer to the collector’s desire to surround himself with stories. He is looking for a way to enchant technology. His shapes are new rites, his places, new witches’ huts and his carefully sculptured atmospheres calls for dreams. The settings become a language. The Silverwing collection (bench, armchair, ottoman) when complete, allows one to reach the perfection of the circle. The Deep Bark Screen is the stylized representation of the bark of a tree on one of its sides and on the other there is a mirror that allows to depict infinity when it is closed. Again, it is a simple surface, an envelope, but it represents the intention of the creator to suggest unsus­pected depths.

Galerie Studiolo
19 rue du Sentier 
75002 Paris - France