Research can only be conveyed through words; sculpture is what the body is conveyed through. The former relies on the brains only –academic learning; the latter on the brains and the hand –along with all the love and life experienced. The former takes place at twenty, the latter at forty, that is when life is becoming rich with nuances and complexities, with contradictions and weaknesses, when loose words fail to come up to what our exchanges demand and try to find another way of putting things, when the tacit and silent language of faces and bodies –with their strength and sensuality- becomes an easy form of expression, and, consequently, a new spoken and written medium. One speaks sculpture to tell shape creations which are first and foremost -not art objects but- a most apt expression of both eyes and hands, an expression matching the happy moments of life, of faces and bodies. Water-diviner, spring-originator with healing and renewal. One speaks and sculptor means “just a plain man” whose sculpture but comes on top : what would be the point of thinking himself an artist ? He mistrusts words and accepted clichés –whether related to rites or trends- for they have stopped bearing any meaning, unless through some sort of prism. He mistrusts established beings and values one has forgotten how to deal with in a natural and critical way. He mistrusts art objects as he mistrusts idols. He has a liking for faces, words and things that stream naturally from the triviality of everyday life, unforced, unaffected, not passing themselves off as special … all such features that do not make them less liable for being true, hence free, and most personal. He dares believe and hope that only an unprovided word is a trusted word. And the only one able to create anything.
(Translated by Michèle Bustros)