Fabien Adèle’s work occupies a luminal space between the tangible and the intangible, where figures come together and fade out within muted, atmospheric compositions. His paintings evoke a condition of transience — bodies that seem shadowy, unsubstantial, as if suspended between the physical and ephemeral state of materiality. Executed in soft colors and deep layers, his paintings exercise themes of ambiguity, bringing up contemplative thoughts and more personal connotations in the viewer’s mind. Adèle uses oil on canvas with great sensitivity, revealing an ethereal style that sits between the uncanny and the common given the artist’s visual language.

Hands, as a repetitive motif in his work, softly populate his canvases where their ethereal gestures indicate a beautiful sense of closeness and vulnerability. Figures come forth like ghostly forms, with their faces turned aside or faded in abstraction. These themes bring about a sentiment of anonymity or weak attachment, reflecting common human feelings of desire, deep thought, and distance.

Words: Yannis Kostarias

One remarkable aspect of Adèle’s approach is his ability to combine a sense of an alluring impassiveness and detachment along with human forms full of evocative sensibility. The repetition of forms, and the layering of translucent bodies create an effect reminiscent of memories extracted from the artist’s subconscious’s mind. Thus, the colors he uses confirm the emotional depth of his work. Subdued tones of rust, ochre and pale greens wash across his canvases, evoking nostalgia and meditation.

Taking into consideration the artist’s effort to visualise a creative territory where the borderline between real and unreal is perpetuated,  Adèle’s careful blending and layering of colours create a hazy, dreamlike effect that draws the viewer into a space where memory and imagination converge.
Adèle’s technique offers an atmospheric approach in order to set up his final forms and shapes. The soft edges, diffused lighting, and tonal harmonies create a visual experience that is at once intimate and universal, drawing others into a shared consciousness. The combination of paints creates the illusion of movement—figures seemingly go in and out of view in a tribute to the fragility of memory and the ephemeral conditions of the human intimacy. In addition, the vagueness of the artist’s figures leave plenty of room for his viewers to freely familiarize themselves with the painted silhouettes rendering a more intimate and subjective reflection on the work.

Through a meticulous dialogue between figuration, color, and translucency, Fabien Adèle weaves a poetic visual lexicon that is able to create feelings and thoughts about the human nature and it complexities. His work is not just seen, but felt, inviting us to immerse ourselves in its fragile, rippling imagery.

Your work often features blurred or layered figures that seem to dissolve into their surroundings. What narratives or emotions are you aiming to convey through the repetition of these forms? Do they reflect aspects of your own identity, personal memories, or relationships?

I remember that when I started to paint consistently, I wanted the figures and bodies to be a main element of my compositions but without them being recognizable. I started to hide, crop, and zoom on my compositions. I paint and draw from imagination, so the silhouettes are always looking a bit distorted and I often like to keep them the way they are appearing when I’m sketching them first on the canvas. I guess all my paintings are introspective, I compose with elements of my dreams and/or personal memories and sensations. Oil painting is very versatile and it is a medium that requires patience in itself, so it would be difficult for me to paint without having an emotional connection to the work. But I rarely have all the answers when I’m starting a new painting. Having a clear narrative for each individual work is not really something that I’m looking for. I think the first sketch has to be the more instinctive it could be, it’s the only way I’ll like the process and make it work for me.

Could you share with us some insights on your new work named ‘Deux figures sur un banc II’ (2024)? Is there any particular story behind this new painting?

I started this painting during the winter 2023 in my studio in Paris and wanted to experiment with darker tones and soft lightings. I did this painting as a mirror answer to my painting ‘Deux figures sur un banc I’ I did during the same period of time, where I used very light shades of grey mixed with warm tones. I found it amusing to work with reversed tones on the same series of paintings, my eye had to constantly readapt to the light. The two characters are seated on this bench, watching a scene that illuminates them from the outside. I think it’s a composition that comes up regularly in my work, because I like it also when it circulates with the viewer’s imagination.

Your use of subtle tones and gentle lighting creates an ethereal, almost spiritual atmosphere. How do you achieve this effect? Are there specific techniques or approaches you use to craft a sense of transcendence or introspection in your imagery?

I work principally with oil painting, I really think it’s the exploration of this medium over the first few years that led me to experiment with tones and more or less transparent layers of glaze until I found the right balance for my composition. But it’s still a constant research.

The calming palette of golden hues, soft oranges, and muted blues in your work evokes a reflective, meditative tone. How do you go about selecting these colors? Are there particular emotions or associations you hope to communicate through your choices?

I think I’m always moving towards tones that reassure me in some way. Most of the time my palette is limited to a few colors and these are giving me keys for a composition.

The warm golden tones in your work feel nostalgic, evoking a sense of elegance and mystery. When you’re selecting a color palette, do you prioritize certain emotions or moods? What role does color play in shaping the overall experience of your art?

Sometimes I’m searching for a balance between the warm and the cold, sometimes these earthy warm tones are enough to give me the feeling that the composition is just right for me when I make it. I’ve been told that the color palette feel nostalgic, I think that my use of ochre colors are actually a reference of the place I grew up when I was a kid in the south east of France, not very far from the mediterranean sea bordered by orange cliffs so I guess I associate my emotions on these palettes. I’m glad if it can be read that way.

Your style feels deeply introspective, inviting viewers to linger on the quiet beauty of details that might otherwise go unnoticed. Are there new mediums, themes, or collaborations you’re considering to expand your practice? If so, how do you envision these shaping your artistic journey?

Thank you very much, I would definitely love to spend time to learn sculpting with different materials properly until I find the right one. I think I often think about the bas-relief technique when I’m painting, so this would also make sense in my short-term research.

Your art feels like an invitation to pause, reflect, and connect with something deeper. How do you balance the abstract and the relatable in your work to create this unique connection with your audience?

I still don’t really know, but it definitely has to feel right for my eye. It’s a kind of permanent tension that I try to find. I like it when elements seem familiar, sometimes depicted in a very simple way, for me they’re hooks for understanding the rest of the composition. From this I can work with color variations and contrasts that are out of the ordinary. But most of the time, the hardest thing for me is to know when to stop working on a painting.

Which are your plans for the near future?

I am currently preparing my new solo show, it is scheduled for the fall 2025 in London

@fabienadele

All images courtesy of the artist