Favéro does not seek to seduce. He traces, hammers, sculpts, engraves, draws. He is drawn to unconventional surfaces, especially old accounting ledgers, worn by time, whose browned pages become the backdrop for his strikingly precise walnut ink drawings. His compositions emerge from a dialogue between past and present, between reclaimed material and the light he delights in bringing forth.
Each day, the artist sketches nature—above all, the tree, a wondrous vessel for the light that filters through it—allowing the world to settle into his sketchbooks like a slow sedimentation.
His strokes, laid down with a wide flat brush, begin dark, raw, and rough. Gradually, they refine. He adds water, works with a cloth, removes the walnut ink, and lets the light emerge—sculpting it at last with fine brushes.
In a muted colour palette, the designs take on their full meaning, between the impulse of the pattern and the nuances of the tones. It is not the colour that speaks, but the gesture, the material, the movement.
These are the sensations that the Maison Pierre design studio has sought to convey in the ARBRES ET SOUS BOIS wallpaper, which reproduces the pages of the book as a series of murals. LES PEUPLIERS ARGENTES fabric, meanwhile, expresses in XXL scale all the exuberance and vitality of the vegetation of the south of France.
With this collaboration, Maison Pierre Frey continues its exploration of powerful and sensitive worlds, where the artist’s hand does not conform to the decorative ... but elevates it. In return, Jean-Luc Favéro offers fragments of silence and light, rooted in material, born of time, and destined to endure.
