Fabrice Hybert has suggested that his work explores 'the enormous reservoir of the possible' (http://www.eyestorm.com/artist/Fabrice_Hybert_biography.aspx) via a deconstruction of language and communication. to this end he deploys a very wide range of media for the purpose of expanding the range of his creative practice, deconstructing language in order to present the viewer with puzzles. He abjures the coherent, instantly understandable, text and the consistent oeuvre in favour of a proliferation that reflects the fundamentally nonlinear character of cognition. This is art in the tradition of the Surrealist object and stream of consciousness. It is Finnegan's Wake rather than classic narrative, it is Dionysian rather than Apollinian. On the other hand some of his projects look like exercises in visual language, his square football is not especially bewildering. It is quite simply a functional object that is turned into an ideal (the cube) and functionless form. His football cubed maps onto the horror of function that characterises post-Duchampian fine art that rose into dominance in the international art world in the 1960s. Fabrice ironically refers to such functionless objects as Prototypes d'objects en fonctionnement (prototypes of working objects), or POF. Another instance of connecting the previously unconnected (cf. Simon Starling) is Hybert's Swing (POF No 3, 1990). This is a playground swing with the addition of 'two phallic protuberances on the seat, one hard, one soft'. The pedophilic connotations appear to escape the arist or the art world for that matter. Another work Roof-Ceiling (POF No 10, 1995) consists of a mechanical device which vacuums up the rubbish in a room and deposits it in a transparent ceiling overhead; installed in a hairdressing salon, it allows the viewer's newly sheared locks to become part of the architecture. '(Eyestorm 2007) His sculpture Translation (1991) consisted of the biggest bar of soap in the world (Eyestorm 2007).
