89…. And in the future, not 90, 101 or 120 but 144 hold all of one and the same dimension, that is 4,1 by 4,1 feets. That devil incited the sculptor Eric Ferber to dash into this crazy artistic and mathematical adventure in the course of creations of spectacular cubes?
The perpetual search for the harmony by basing itself on the continuation of Fibonacci with a quite at the same time mathematical and mythical figure: 1,618 .Le golden section, the key of the balance, the secret of the harmony, which we find in the heart of the constructions Mayan as in the architectures of Him Corbusier and even in the nature with the capitulums of the sunflower.

Perched on a point as loan to be entered levitation, each of these cubes shares the same dimension but for all that, the principle of cube is transcent by a singular formal approach and appropriate to each of them. And it is a game of heights and of space which are linked as to question the foundations of the balance and realize the riddle of the principle of harmony. Some are literally boned and become the skeleton of a square, the most common geometrical figure with his rival, circle. In the radical minimalism opposes the playful comfort of a die XXL, weaved in Corten or our planet put in the square as if the human fractures had been bandaged, if it is not, warned. The contradictory lines are reconciled, the curve sneaking within cubes to soften the rigor and calm it of its rough rigor.

By putting a lot into this epic of the just balance, Eric Ferber not less forgot his love for the sensualism of the curve as his preference for Corten, this material, steeped in history, which metamorphoses in the course of the light and of time.

If to reinvent the notion of cube, room after room, is at least a puzzle of the creativity with which is in confrontation with pugnacity Eric Ferber, 89 cubes for the moment in the course of conception are a summary of poetry by telling the alliance of opposite points of view: the battle of the fastidious geometry with the interlacing of lines ready of escaping in the slightest chink, the ornament of motives with the undressing of a skeleton pointing at the main part of things, at the time told by Corten, ageing interrupted by the seasons to prefigure a new youth, the obstacle in the course of figures surmounted by the inventiveness... To observe well, these creations belong to them only, a palimpsest of lines which tell the life really and incite us to put us and to define the main part, as to find better our point of balance.

Nicole Maïon

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