The French artist, Jean-Michel FICHOT was born in 1959.  He is a sculptor and a professor in Applied Arts, as well as a student of the Duperré School of Applied Arts and of the School of Fine Arts in Paris.  His work has been exhibited since 1985.

  • 1985 :      First one-man exhibition in Paris.
  • 1986 :      Awarded the Jean Arp contemporary Art Prize by Marguerite Arp and
    Philippe Piguet. Entered the International Symposium of Sculpture in
    Sylt, Germany, where he met Nils Udo.
  • 1989 :      Awarded the Florence Blumenthal prize by a jury that included Jean Bazaine and Yvon Lambert.
  • 1990 :      Organized a personal exhibition at the Art and History Museum of Saint Denis, France.
  • 1991 :      Held a one-man exhibition at the Art and History Museum in Colombes, France.
    Participated in public collections e.g. the Art and History Museum of Colombes, France, as well as in private collections and foundations.
    Regular exhibitions in galleries, in International Contemporary Art Fairs and museums in France and abroad (Germany, Belgium, Switzerland, The United-States of America and Japan).
  • 2012:      Awarded the Charles Malfray prize, Foundation Taylor, Paris.

As an artist, Jean-Michel FICHOT has created his own language using distortion and repetition of forms in search of new spatial situations, and he finds his inspiration in direct contact with matter and volume.  Marie-Claude Lambotte refered to a «philosophy of form» in the article she devoted to him in 1988 in the publication Frénésie1. One could also willingly refer to poetics of sculpture which cannot be limited to a unique view whether it is critical, literary, philosophical, psychoanalytic or sociological.

Figurative forms are treated as abstractions insofar as that they do not aim to represent a story in a colourful or in a trivial way. There is a real concern to find a rhythm, a movement, a phrasing, a tenseness and a matter.  Distortion, a sort of metaphorical condensation, combines with repetition, a sort of metonymical displacement of desire, each sculpture emerges at the intersection of two diachronic and chronological axes.  There is a dual-reference system, a reference to history and to a collective memory on one hand, as well as a self-reference by means of repetition and use of similar modules from one sculpture to the next and there lies the source of his own personal identity.

Frénésie1 :
HYSTERUS. Histoire psychiatrie psychanalise N°4 entretien de Philippe Sollers avec Cécile Collée,1987.
FOLIES D’ENFANTS. Histoire psychiatrie psychanalise N°6 « Une pratique de la philosophie de la forme » entretien avec Marie-Claude Lambotte,1988.
Cadmos2 :
Revue culturelle et scientifique
N°2 - L’UNIVERSEL, LE SINGULIER -« Déformations » de Jean-Michel Fichot.
Texte de Gilbert Lascault3 :
« archive de la critique d’art » in catalogue Jean-Michel Fichot, Paris, galerie Furstenberg 1991.