Nos - 2007 - Assembly Tempera on paper, charcoal, dry pastel, earth, marble, photography, 190 cm x 115 cm.
Nos – 2007 – Assembly Tempera on paper, charcoal, dry pastel, earth, marble, photography, 190 cm x 115 cm.

his assembly elaborates on the theme of enclosure; by exploring the problematic aspect of the edge as an active membrane of exchanges between the exterior and the interior, I am looking above all to know in what way the formal constraint fortifies expression on a purely plastic level, without necessarily dabbling in various considerations of esthetic and philosophical order. The material of the enclosure is of iron. Its welded shape ties me to the Vulcain ironworking, that finds itself underground, in the underworld, in the enclosure. The balcony, or rather, the balustrade intervenes. Arranged horizontally, it transforms itself into a “ladder” element when it is used vertically, assuming many meanings. Horizontally, the balcony is tied to the horizon line; it determines the space of view, but also a point of view on life and could possibly be defined as a frontier. For me, the birth of the figure inserts itself in a process of analysis and discovery. It’s about sublimation, of ” l’ Erscheinung” evoked by Sigmund Freud and Jacques Lacan in the sense of apparition, phenomenon, symptom, and appearance. The putting in place of the idea produces itself then, at the heart of the highest necessities of the present that seem to be a definite future. The well-handled elongation could also be the way toward the ascension of the degrees of spirituality. The reality transforms itself with expressivity towards the detachment of human nature. We pass from a fragmented body in cubism to a synthetic or dematerialized body in the virtual age. At the interior of the bases stands an almost anachronistic figure, a nymph, inspired by the low reliefs sculpted by Jean Goujon for the “Fontaine des innocents”, in order to establish a relationship between the architecture of the fountain and the architecture of the page layout to which the figure relates. It is needless to say that the two blooming roses on the cold stone echo the nymph’s nipples while she stretches above them. This “immortal” collage contrasts with the ephemeral life of roses. From the dead to the living.