For Fabrice Ausset, the collection is an object in its own right. It is quite natural for him to move from the box to the jewels in the sense that everything is only universe ﬁni, by which one creates a gateway to something else. And from this contradictory double fascination for the single object and the collection, an obsession emerges: microarchitecture. The pavilion between artwork, design object and architectural piece.
Fabrice Ausset is very sensitive to the air of time, and our time has something unique that she is witnessing the last tremors of the most advanced craftsmanship, and the birth of a technology that is about to make human manufacturing obsolete. Technology allows the use of randomness, it allows us to think of the same unstable forms as nature. He seeks an answer to the collector’s desire to surround himself with stories.
He is looking for an answer to the collector’s desire to surround himself with stories. He is looking for a way to make the technology magical. Its forms are new rites, its places, new huts of witches, and its atmospheres, so carefully sculpted, appeals to reverie. The decor becomes language. The Silverwing ensemble (bench, armchair, ottoman) allows to reach the perfection of the circle.
The screen Deep Bark, is on one of its faces, the stylized representation of the bark of a tree, and on the other a mirror that allows it to be ﬁgurer inﬁni. Again, this is a simple surface, an envelope, but it represents the creator’s intention to suggest unsuspected depths.
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