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When pressured to disclose the sources of his idiosyncratic work, French artist Fabrice Hyber likes to invoke what he calls “the enormous reservoir of the possible”; his interests revolve primarily around the power of art to give rise, shape and form to a potentially endless network of relationship between concepts, ideas, images, objects, signs, thoughts – art as one particular form of materializing the immaterial, so to speak: not surprisingly, his work has often been named in connection with, or compared to that of his contemporary and sometime traveling companion Honoré δ’O.