The Story of the pieces

"Flowers and fruits come later, first we must talk about the roots. There are many different types of roots: taproots, fibrous roots, adventitious roots, and aerial roots, among others. Deleuze had his own idea of rhizomes and rejected taproots for reasons related to his time. But in any case, it is in the earth that we anchor ourselves, and towards the sun that we rise. So, I decided to stay at home (in Ardèche), support the foundations of my territory, take the clay on which I have walked so much, and fire it with wood: an Anagama kiln is a maker of sunshine. For a week, we sleep little, deeply anchored in the earth, we end up rising as if in a trance. Fatigue accumulates, we carry the ceramics with us, under our arms, and we create a sun, we go towards it to share bouquets of flowers, send seeds here and there, share the fruits of a meeting and an obsession.

Sculpture as repetition slips between the awkwardness of an imprint left on the ground and the obsession with eternity. As for its difference, it is my trace, my mark with an awl or my fingerprint on the clay, forever repeated/disseminated in a network of dissolution/solution of an identity that is created as much as it is undone. You observe it growing, my footprint, so come closer and walk on it, there is nothing to fear - I will return. The hand will eventually grip the memories and sculpt the memories. Meanwhile, let's play with the block of clay: sometimes soft to allow the world to enter us as to keep its imprint. Sometimes hard to avoid fatal deformation and to penetrate the beings that surround us - those whose intelligent softness will have an appetite for some cruelty.