Isabelle de Maison RougeHistorienne de l'art, Critique d'art
This work, sculpted in resin also evokes a sedimentary process, the slow work of time made by the tectonic plates, subduction plates. « Depth , Nietzche said, sometimes hides on the surface ». Ages accumulating, eras piling up, unfathomed deeps of our memory, strata of reminiscences and sensations. These sculptures bring forth the cultural and natural heritage of the earth, that of humankind. The surface of these immaculate plates is stirred by the breath it senses, like water under the kiss of wind. And the matter registers the shapes of these whispers that it keeps in memory, like the most sensitive epidermis, as Paul Valery reminds us “What is most profound in a man is its skin”. In the whiteness of the material is printed the written word of the wind, traces, scars or tender marks.
And Faz recalls Walt Whitman: « Could you imagine just for a minute that all these vertical lines, curves and angles, these tiny dotted seedlings, represented the very words? Not so, the substantial words are at the bottom of the soil and of the ocean, at the bottom of the air, at the bottom of yourself.
Matthieu CorradinoCritique d'art
Faz works in Paris. Its gestural sculptures, carried out initially with the hot wire in polystyrene, carry the trace of a dance by which it mimes the movements of nature. Some reveal with an astonishing clearness that, in its inorganic sector, nature is driven in an undulatory way, repetitive, by jerks. However all these reiterations are not in any point identical, since they have each one their own details, which make them discernible of all the others. They all are thus similar – if one wants – but “similar differently”: eadem sed to confine to bed. All thus occurs like if nature, even in its inanimate areas most monotonous, expressed an inexhaustible creative energy, innovative: under the name of a universal repetition, the eye detects points of singularity, which are not and will be never identical to others. This creation continues which surrounds us, Faz collects it in its sculptures, better than our eyes cannot do it in nature, since, by fixing some the print in the inalterable paste of polystyrene, it presents it, immobilized, with our reflection: with a thought which has a longer time to contemplate it.
Christian GattinoniCurator, editor in chief of lacritique.org
Faz is woman with her head as with its heart. The hearts it makes them turn in its sculptures which play of the twinge and an energy setting in motion following of helicoid borrowed from chemistry. What it carves it is before all the relation, not the woman as a subject, but its links with its history, its sensitivity. As a man his works suggest the interlacing, they require the combined effort of the shoulders and of the front armlevers without recourse to the force, it is it which controls it, but with a participation in empathy. For the women these works do not want to be only mirror, they convene their sensitivity in a solidarity of requirement in research of maternity. Thanks to the elegance of its materials as to the diagram of its lines Faz tries a contemporary alchemy of passions.
Véronique Périnfor "Vivre au féminin". Summer 2005
Immediately the glance is captive and dances on the sensual curves of these monumental sculptures, swallows beautiful energy and releases itself some. The hand is tightened for a caress, naturally. The women of FAZ offer to the women the mirror of a maturity which they are unaware of often and with the men that of their mystery. Sublimated paradox of roundnesses which are offered and the secrecy which is concealed. The disorder which emerges some is subtle and voluptuous. It invites to a trip in the middle of femininity, its full and its untied, its luminous brittlenesses, its unsuspected forces. The twenty sculptures exposed in the Orangery of the Senate have the force and the obviousness of a source which spouts out with the sun after a long underground course. With Them, FAZ created a universe with it which resounds very extremely in us.