Born in Germany in 1953. He graduated with a diploma from l’Academie des Beaux Arts in Kalsruhe in 1980.

In 1985 Robert Schad received an order from the Museum für Neue Kunst, he then switched to the exclusive use of steel in his sculptures. Solid steel bars with a square cross section of 4.5 cm and 6cm to 16 cm for exterior pieces.

The metal bar remains of human proportion, the hand maintains contact with the material, and it is he who retains control of the gesture in space, like the pencil at your fingertips.

Robert Schad by this continuity draws with steel bars.

The steel is not forged, it is cut, welded. Robert Schad breaks the curves possible. He
imposes a rhythm of choppy appearance and is part of a ripple in connection with the expressions danced. The shapes are laid directly without a base. They rise from the ground, like trees where they are put. The shape is always unbalanced in its movement and yet stable. The inversion due to any permanent static sculpture, finds movement even in the
treatment of the shape, always brought to the brink of collapse, forcing the eye to circulate around the room, and through to follow the different accents.

The pieces posed or arising from the ground have a weight, a resistance which, at the beginning of the movement in space and time, to the point of imbalance, to overcome the weight of the material to be deployed with a strange lightness. The action of the hand and the steel being implemented create rhythms, structure and alter the space, that is to say the relationship of the matter between them. The pieces by Robert Schad, by their linearity, their asceticism, fluctuate between organic forms and choreographed architected structures close to the research of Gehry, also related to constructivism. Robert Schad establishes a variety of shapes on a basis of six: The Line Connected to the Rhythm – Concentrated Block – The

Spiral Shape – The Closed Circle – Vertical Bars and Portable Bars.

Robert Schad’s work is displayed in museums, public squares, embassies, urban landscapes, public and private parks and indoors…Robert Schad creates art with steel, applying the actions in the three dimensions of space.

Seba Lallemand: the fortune of the misfortune of being creative,
of being a true artist.” by Oliviero Toscani

The true creative, the true artist, has everything against himself, all trends, all snobbism, he is beyond all fashions, he is simply creative. Not everybody can allow himself to be an artist; it takes courage in assuming all the happy unhappiness, of a destiny dedicated to art and to creativity. Because creativity is genesis, birth, divine force, energy, fantasy, suffering, dedication, faith, generosity. Creativity needs energy and courage but lives in total insecurity. You cannot be creative and be secure. 

Seba Lallemand is in his way, the most interesting artist I met in Fabrica while I was director. Always propositive, independent from technology, he always managed to surprise, with his creative proposals, with a vision that comes from an uncomfortable angle. Seba is a true artist, with the cursed fortune of having the misfortune of being creative, meaning: damned, unhappy, alone, visionary, insecure, misunderstood, diabolic, suffering, genius, subversive, generous. 

Seba Lallemand, artist painter, born in 1973. After his Studies at ÉSAD Orléans, he joined the creative team at Fabrica directed by Oliviero Toscani. In 2000, his first short-movie “Afterwords” is screened at the Venice Film Festival. In 2008, after 6 years in China and a collaboration with Ai Weiwei as a cinematographer, he comes back to France and he decides to dedicate all his time to drawing and painting. In June 2015 at the “Triennale d’art contemporain de Vendôme”, he realizes an installation “Champagne”, a “bubbling” of 3 meters by 17 meters on glossy paper.

François Weil visits quarries across the world to find the most remarkable rocks, looking closely at their shape, grain and colour.

Once they are in his studio, he leaves them for a while before assembling and putting the rocks into motion.

The rocks are mounted onto a steel turning mechanism. Ultimately, perfect balance is achieved. We feel invited to touch the sculpture and feel a sense of astonishment when we are effortlessly able to put these enormous rocks into motion.

François Weil works with a geological mind. This instinctual sensation can be found within us all, and here it is rediscovered by the senses; the eye and the hand.

Jean-Pierre Schneider invites us to discover his paintings. His work is in full light and colour, with the sun at its zenith, everything is seen head-on, a dense bitter reality, without shade, and without compromise. Shape is nothing but the result of an action. An intention, an impulse or a caress. Is it the movement of the red cloth in the centre of the bull ring? What does it mean to the bull? Here the reality is as difficult as the lightest touch.

We can be heavy or light without knowing it, attraction has nothing to do with it, here, we are talking about another force !

Mahé Boissel, exhibits under the title “Queens and Courtesans”. With the theme of a doll; a set of paintings and drawings on paper offer a selection of her most recent work. The work is expressive, but without too much detail or anecdote. It’s a human comedy about social relations: seduction, couples and what revolves around women. A whole range of emotions may surface when confronted by the works of this talented, uncompromising artist.