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Is, rightly, held for one of the best sculptors of our area. Like its pars, it acts and works, in its step, as a modern demiurge wanting to be in direct catch with the telluric and elementary forces. II aspires, in and by its personal, made creation sensory intuition and of formal rigour, to collect and channel their secret energies, their vital dynamism, which it works the wrought iron or of beautiful drink. II A, as one knows, behind him, an important work and of quality. Faithful to his ideal demiurgic, the sculptor, in his last works, gave again presence and life with the dead trees of his garden, victims of the winter and the "seasons deer". II drew from the flesh of these large plants of firmly articulated architectures. Strongly synthetic and of a great frankness from accent, they retain, seize, by their monumental hieratism and their character totemic. Perceived as a whole, the presence unit evokes initially a petrified forest. But for which the analysis and explores it front, it revêt the shape of a labyrinth. This term, which indicates at the beginning a network of ways where one has evil to be directed, must be taken here in its meaning symbolic system and esoteric. The forms and the rates/rhythms composing its architecture, deploy signs and symbols suggestivement lighting. They are answered harmoniously according to the analogical law of complementarity centered on the report/ratio microcosm (the man), macrocosm (nature). All and sundry would deserve long comments. We will retain has title of example of esoteric symbolic system, two beautiful sculptures with the lines vigorously overlapping which make think of the "chiefs of compagnonic works". It is while operating with "science and conscience" a transmutation and at the end a transfiguration of the dead trees of its garden that FRECHIN carried out its beautiful and mysterious labyrinth. II wanted, in I' example of the alchemists, to try a first realization of its "philosopher's stone" personnel. Perceiving analogies and correspondences registered in the large temple of nature, it proposes a microcosmic mirror to us reflecting the powerful macrocosmic life. Its essential merit is to have known to make work of personal creation, in the spirit of most authentic modernity, while implementing a "hermetic" iconography very convincing because highly meaning. This sculptor of race
appears to us more than ever committed in the |
