内涵，可以使人感受造型外表。这种外表或许可以是一种装饰的手段，在陶泥上镂空，从而在这种釉色下创作出各种各样的图案，在青瓷釉下这些图案若隐若现。富尤并没有将自己的精力耗费在相互排列的镂空上从而将人们的视线引向并非重要的细节之处。他把陶泥视作一个整体进行创作，揉卷，撕碎，切断这块陶泥，如同一场强烈的龙卷风碾过它一般；他挖空这块陶艺创作中的每一次成功无一例外地展示了陶泥、造型与作品表面之间的一种和谐。青瓷排斥任何一种修饰。它虽然只是作品的表面，但他却是一种有着深刻陶泥，恰似狂风卷起海水在暴风中形成大浪一样。青瓷釉并不受这些动态效果的影响，它伴随它，形成自己的空间，而且每一滴流动都突出了他的外表的美。富尤创作的作品外表与陶泥融为一个整体，滑润得如同风和日丽下平静的湖水，以轮廓的线条构成的空间中均匀地施着瓷釉。这些外表给予感官上的愉悦，但他们并不是柔弱无力的，在他手中，陶泥变得十分锋利，如一把利剑，一把双刃长剑，穿透了精心构筑的外表，而清晰的线条再一次使青釉呈现出格外的精妙。
让-弗朗索瓦·富尤是位以执著、愉悦和雄心进行创作的雕塑家，这使得他所完成的作品构成了两个空间之间的一种毫无妥协的对立，他使这两个空间形成某种对立的态势，抑或将其完美地融合为一体，进而给人以视觉冲击。
在他所对比的这两个世界中，一个是外在的，不加修饰的，给人以力量感，显而易见是坚实的；而另一个是内在的，更为细腻，更为脆弱，但有时也带有一种活泼和清晰的色调。
近年来，让-弗朗索瓦·富尤一直在积极地主张这两个空间之间的这种转换，在不为人们感知的情况下，从一个因一种强烈的感官的饱满性，如令人爱怜的女人那丰满的唇，产生灵感的世界走向另一个世界。这个世界令人的精神更加紧张，它沿着由一条长长的弧线所构成的几乎是无形的轨迹，从最初呈现出自己的形象，开始具有生命力，随即走向鼎盛，直到最后消失在虚无中。
让-弗朗索瓦·富尤创作的雕塑作品是不息的海浪，同时也是航行的船，一只巨大的贝壳，大海在这里悄声低吟，海水撞在上面变成片片浪花，海石在这里凸起，船帆留下了高耸的轮廓线，人们仿佛感到了海风就像一片巨大的星形羽翼滑过这片大海，一切都是绿色和蓝色的，一切都浸淫在这亮丽的绿色，着亮丽的蓝色中。
Every success in ceramics always reveals a harmony between the clay, the shape, the surface. The celadon precludes a décor; it is the surface but a profound surface which introduces one to the shape. The surface can be then the décor and the Chinese did not hesitate to make it that, hollowing the clay to create numerous motives which appear under the colour, half-concealed, half-revealed by the celadon. Fouilhoux does not give himself to these disruptions juxtaposed to each other, drawing the eye towards that which is not essential. He works the clay as a mass, twists it, breaks it, severs it, as a tornado would bend it, he hollows it as the wind would hollow water to create waces in a storm. The celadon does not follow the movements, but accompanies it, make it its own and Fouilhoux creates surfaces which become one with the clay, smooth like a lake in fine weather; the shore conjured up by the rim of the form on which the enamel gently settles. The surfaces are sensual but not soft; in his hands the clay can become sharp, a sword, a rapier with its point penetrating the deliberate form; again the sharp rim renders the celadon surprisingly subtle.
Jean-Francois Fouilhoux is a sculptor who sculpts with determination, jubilation and ambition causing the outcome of a resolute confrontation between two universes which he opposes or combines to well up and erupt.
Recently, Jean-Francois Fouilhoux has favouring the transition between these two universe, passing imperceptibly from a world inspired by a heavy sensual roundness—swollen lip of a loving woman—to another world, more tense, which emerges and comes to life before blossoming and fading into the void, along the almost intangible line of a long curve.
The sculptures by Jean-Francois Fouilhoux are wave and vessel at the same time, a vast shell where the ocean murmurs and against which it breaks and which rocks in its swell, the sail so majestically outlined that one feels the wind living in and sliding throught it, like a great taut astral wing , all in green and blue, soaked and inundated by this famous green, this famous blue…… |
