Fabien favours drawing as a drawing cannot hide its flaws. A drawing creates its own contingencies in the form of stains, streaks and other accidents that in turn participate fully in the artistic expression on the same basis as the planned pictorial gesture. Anything that is likely to leave a stain, such as splatters or other unplanned occurrences take action, vibrating and changing the surface. An ambiguous relationship has existed from prehistoric times between man and beast, one that evokes a range of feelings such as love, violence or fear. It is that nature of the beast that haunts me. A reproduction is not faithful: it must become the Reproduction. Something has to force the whole process. Fabien's animals spring forth furiously; they are deformed and strangely stretched. Fabien looks back on the ancient rock art imprints as the first silent cry of human expression, in harmony with Brancusi's sentiment when he confessed that he did not simply want to "make birds" with his drawings, but rather wanted to create the impression of "flight."