The works of Fabrice Hyber provoke divergent ways of thinking. In a kindred spirit with Raymond Hains, image and writing are intertwined. Drawings and diagrams are visually direct, as shown in the series of "Peintures Homéopathiques" ("Homeopathic Paintings"), collages covered in transparent resin (1986-1988). In Cellman (2003) on the bottom right, stones and the arrows refer to skipping stones of "thinking". A recurring human figure, commonly associated with Hyber's theatrical world, is shown in Cellman and also L'homme de Bessines (1990).
Drawing, which is the essential embodiment of Fabrice Hyber’s artistic thinking, is at the origin of all his works. The artist uses accumulation, hybridization and mutation to create constant shifts between extremely varied domains. Each work is just an intermediate, evolving stage of this “work in progress” that spreads like a proliferation of thought, establishing links and exchanges that then help to create other connections.
In each of his self-portraits, Fabrice Hyber (he removed the last "t" in Hybert in 2004) is elusive. This has been expressed in the photo "C'est le moment de se préparer à de nouvelles expériences" (It's time to prepare for new experiences) (1987), or when we look at the upside down, hanging by one foot in "Traduction, le plus gros savon du monde" (Translation, the biggest soap in the world) (1991). "I am an alien! " says the artist. "Games and shifts are the only things able to face any kind of fundamentalism. Trade, commerce, image and poetry are means of osmosis. Through them gradually you can set up all of the ways to increase life beyond death. It is necessary to mix time, upgrade products, and imagine that works die in order to be assimilated then revisited. A work is absolutely not precognitive but always from here" said Fabrice Hyber in conversation with Thierry Laurent.
Fabrice Hyber was born in 1961 in Luçon, France. He lives and works in Paris.