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). The artist uses writing as an engine of formal and semantic associations ("galet, galette, cellman, bulle, cellule "). The figure recalls that the body is a collection of cells. Like in the work Artère, le jardin des dessins ( Artery, the garden of drawings, a monument commissioned by Sidaction, Parc de la Vilette, Paris), the artist captures the inner workings of the body through schemas.