I sculpt beautiful, voluptuous, fierce women. My raw material is emotion. My medium is clay and I cast the finished piece in bronze, to give it strength, texture and color.

French-American artist, I put femininity into three dimensions, capturing the power, glamor, beauty and vulnerability of the female form in bold yet sensuous bronze. A biochemist by training, an artist by heart, my love for the human body evolved from a molecular level to an emotional one when I decided to pursue my passion as a sculptor. My work has recently evolved to represent some of the powerful and fierce women. Those who could be seen in fashion magazines or in daily life: entrepreneurs, businesswomen, mothers and spouses who need to fit in so many different roles that they forget their own self to become object of desire and admiration. 

Raised in the heart of Paris, I was surrounded as a kid by fashion designers like Coco Chanel, Sonia Rykiel or Yves Saint Laurent. I could see a beautiful model walk on the street everyday and she would be just another regular woman. From that time, I love Fashion as an accessory in the beauty on any woman. Couple of years ago, after looking through the page of Vogue magazine I was inspired by some photos to create my “Sassy ladies” series. Fierce in bell-bottom pants, their look is universal. They seem to come from the 70s but I discovered in 2010. They are young and mature enough to know who they are. They are sexy and strong. They are proud and vulnerable. And they  are definitely going somewhere. 

Esthetic, tenderness, attitude, translated in colorful, emotional bronzes sculptures has allowed FaB’s artwork to be shown in New York, California, Colorado, France and represented in collections worldwide.

as a visual artist I am open to different series of work, keeping my creative process fluid open to a variety of ideas and explorations, free of considerations of style, the craft the quality of it, is the challenge I seek. Inspired by materials as well as subject matter relating to the human figure, lines around the body created by clothing designs and structures. The produced object has a sculptural dimension a decisive edge much like in a bas-relief. In this state of mind I have along the way produced works with wood, metal, paper, wire and charcoals. One common material to many of those works is the resin which is applied with different casting techniques, often born out of experimentation and necessity to bring forth the initial idea.

“My work has evolved from a lifelong love for, fascination with, and sense of reverence for the human form. I have also been deeply committed over the years to the process of drawing, finding in it time and again an emotional and visceral immediacy that has served my deeper purposes. I am working now exclusively with live models and with a great deal of speed. I like working with a living, breathing human being because, by definition, the subject is not a static one but a dynamic one, moment by moment in a process of change. My aim is to transmit something of the power of that dynamism to the viewer. When successful, I liken the experience to going on a somewhat frightening roller coaster ride and arriving breathless and sometimes amazed at where that ride has taken me. The process requires of me a very deep letting off of the brakes of any preconceived notions I may have had for the drawing. By responding freshly to a particular moment the work can move in many different directions, sometimes more abstractly, sometimes more representationally. My best work often includes elements of both, and can be further layered with a sense of transition, emotional nuance and some measure of mystery.”

My work is meant to stir the intellect and yet be meditative. My pieces are organic or biological in essence, looking like things one would see in nature.  Repetition of form is another theme seen in my work.  The scale of my sculptures range from the intimate to large-scale installations. Some artworks are ceramic paintings, ceramic forms attached to wood panels. Others sculptures are ceramic forms installed directly on the wall.   Most recently I am making freestanding sculptures as well.  My work is hand built, primarily using low fire clay and glazes. Form and color are important elements in my work. The seductive qualities of the ceramic medium of color and surface are used to attract the attention of the viewers so that they will spend time looking at the work, embarking on their individual journey of discovery.

Bio: Scientist by education, programmer by trade, artist by necessity, Mr Rogers has been creating art for most of his life. After spending 15 years as a photographer, both journalistic and artistic, he put away his camera in 2000 in favor of building, painting and creating art featuring Bunnymatic and friends. These characters have served as subject matter and inspiration for Mr Rogers to experiment with different media (including paint on canvas, wood sculpture, collage, recycled material constructions and more).

Most recently he's been focused on wall hanging sculptural pieces with wood, paint and other recycled materials.  

Lately, there seem to be more and more disasters in the world. With earthquakes, hurricanes, oil spills and wars permeating our daily consciousness, it appears that the speed of modern life does not give us time to consider and plan for critical situations. In this scope of the Earth's power, we become little ants and flies, dying by the thousands in disasters and conflicts. The shell as a protective vessel has always been an enigma for me; how does the mollusk transform such tiny particles into such a beautiful dwelling? How has it stumbled upon such intricate yet effective architectural structures? The shell represents the enigma of all creatures - the urge to live. When I hear the latest news, my urge is to hide, to escape, to find a secure place to find my shell. My sculptures, the shell dwellers, are beings conjured from an alternate universe where that urge can be immediately gratified; everyone carries their security around with them at all times. But more than that, they also carry around their stories for everyone to see. People they met float around their face while beaches, bridges and city-scapes cover their shells. Their fresco-like shell surfaces are modern-day versions of the ruins of Pompeii, where a language of pictures communicated to people from all walks of life and many parts of the world. Although I may want to hide at times, I know we can find common understanding among our stories if we show them to others.

In my artwork, I am interested in expressing what I can't express easily in words. When I was younger, I was very interested in poetry and I feel that my interest in the visual arts comes from the same source, involving the construction of a kind of visual poem. Much of my work process is intuitive, or possesses intuitive elements within a rational framework. I am most interested in conveying a sense of energy, emotion, or an idea, through a form that may also have a planned and methodical basis.      Most recently, I've developed a series based on the forms and surfaces of icebergs.  Looking at photos of icebergs and glaciers, I was really surprised by the variations in different colors, surfaces and textures of the their forms. For example, striped or jade-green icebergs, plus the many uniquely shaped holes, tunnels, and cracks in their surfaces.  They looked quite sculptural and some brought to mind carved rocks or caves, while others were curvy and smooth, resembling sea creatures rising up out of the water and possessing a kind of poetic quality.  The works together convey a sense of interior versus exterior, support versus covering, and structure versus sensuousness.  Overall, my recent bodies of work are about birth and growth, variation among similar elements, the structure of natural forms, and a sense of communication and mystery in life.