Frédéric Halbreich is known for the use of black. Color (the mother of all) that it usually couples with a white and a gold of walnut husk. It is often bands of paint applied with a brush or with different spatulas and knives that trace the main lines of the painting.

It is a steep path indeed, very close to the mystical itinerary of Saint John of the Cross, as witnessed by his great poem "Dark Night of the Soul", this "night fairer than any day".

The more absolute the black, the more infinite the riches it exudes: either openings into the beyond or sometimes subtle reflections of light which are as many aurora boreales (or australes? Or rather perhaps sidereal) - at the heart of that night.

On this chromatic “path to Compostela”, whose outline indicates the east of an absolute of the color black, in fact, a dream elevated to the rank of living matter, Frédéric Halbreich takes his steps, one by one, slowly. They are infinitely numerous.

And a lapidary formula, he will also say that his Grail is in a way "the black of a concert piano". A myth ?