The commonly called wooden polychrome sculptures began in the creation of Folmer in 1941-1942.
This is an idea whose space he saw the importance in his conquest of abstraction, when he worked polyhedra.
It is pointed out in recent Cubist works, often governed by the Golden Ratio, a repetition of geometric shapes according leak points that provide a sense of depth and perspective in space. Taking advantage of the lack of means due to the war, and always fascinated by the intensity of nature, Folmer retrieves wood: he shapes with scissors in more regular geometric shapes and assembles them according to his preliminary sketches to create what he calls a “construction space” because, he said “they are not modeled or carved” by making reference to the sculptor on stone or marble holding their chisel.
But the spirit of artistic creation Folmer will give these pieces a dimension quite exceptional when it decides to apply a total or partial polychromy on the faces of its geometric timber. We can say he has selected the teaching space of Malevich. During a short decade Folmer, passionate to achieve with innovative materials, will develop his talent. “These creations, with their refined simplicity, the dynamic tension of the structure, the power balance that emanates from, is one of vertices of the Art Folmer.”
It was a tribute of praise at Colette Allendy in Paris in 1950, when he presented its polychrome wood for the first time. Then it was the consecration with Michel Seuphor, who later wrote: “… his work, which obviously has its place, in my opinion, are the very prominent polychrome wood sculptures. These works are among the most beautiful I have known of constructivism in three dimensions (…) they must find a place in museums and protection (…) I had never seen such a beautiful combination of wood and color. If I had more money I would have definitely bought.” (Letter dated October 23<sup>rd</sup> 1987)