Artist born in 1984, lives and works in Berlin. 

Starting from the memory of his childhood spent in Israel, combining landscapes of sand as far as the eye can see and “geometric blocks of cement that grow in the city”, Michal Fargo thinks of his sculptures as objects-witnesses of time. His first, then that of the human. His work is rooted in an imaginary discipline, that of the archeology of the present time. Syncretism of the friction between the past and the future, it questions the imprints that humans leave on the mineral kingdom. And, as a whole, it opens a window on our own space.

The artist draws his inspiration from the universal forms of the mineral to create sculptural objects that resemble natural rock growths. If the Soft accent series (2021) seems to contract and retract as time erodes its skin, it is undoubtedly because its material evokes that of a changing epidermis. Their color, which varies according to the light, refers to the different kingdoms of life, whether mineral, organic or vegetable. The artist takes up the oxymoron concept of nature-artifact, the result of a gradual blurring of the distinction between the human hand and natural forces.

“If you find the right balance, the sculpture can look like a computer-generated object rather than an existing piece. I like that people stop and ask themselves the question of what they have in front of their eyes. It is this very ambiguity of the nature of the object that makes it special. Michal Fargo's field of investigation is almost scientific. Recently, it has been producing the flocking itself, this process of applying fibers to the parts which is a low-tech industrial technique that mobilizes a small current of electricity and conductivity. The artist combines
a more traditional ceramic modeling technique. This confrontation makes it possible to consider his sculptures as the imaginary vestiges of a present time. Flocking, a process that gives his sculptures their fluffy nature, takes on a double meaning here. Because floc is both the material used in his work and the interjection that expresses the sound of falling into water. Mental images then collide: the neither soft nor totally rough flesh of his pieces evokes the liquid, solid and molten state of matter all at once.