THE EXAGGERATION OF THE PROPERTIES OF AN AXIOM. EXASPERATING!

SARA FAVRIAU 

“Sara Favriau’s exhibition is the ironical realization of the consequences of her approach: the essence of an artwork is an unfeasible feat. Time is the only limit to the will to freeze. Properties are transitory. In her previous exhibitions, J’ai remonté le temps y avait rien à faire. Les mêmes carrosses en bois à toute allure (2014) * I went back in time, there was nothing to do. The same high speed wood carriages (2014), and La redite en somme, ne s’amuse pas de sa répétition singulière (2016), *To sum up, repetition does not delight in singular reiteration (2016), her titles bring forth the idea of the unattainable, much like Francis Picabia[1], expressions of the merry elusiveness of a plethoric mind. But what do “exaggerations” mean in a line of work where technical prowess, formal research and corporeality come together in harmony?

The work of Sara Favriau deploys a minimalist vocabulary, which buttresses a structurally corporal relationship to sculpture. The gesture (never stripped down and thus ironic), movement of a sharp line, between instinctive brutality and sensual outcome (wood variety, delicate whiteness of the plaster, curves and veins of the material, ridges at the surface of the material) recalls the photographic work of Brassai, his series of graffiti, an exploration of tracks through the walls of the city [2]. These harken back to the origin of writing, and the impossible dating of these primitive gestures. Some images come from the night and never unfold to the present. They live eternally through resurgences.”

Théo-Mario Coppola