Something must be stated about the best and brightest part of friendship, about man and woman’s astonishment, about their loving nakedness : what other truth indeed would deserve to be kept more confidential ? Which could be more of a private certitude, of an innermost conviction liable to make people envious?  Is there any other, which, like it, amounts to such a stroke of fortune yet to be lost when displayed ? Or a spell to be broken upon disclosure, a secret whose whole force is to remain secret. It is a commonplace to mention how trivial the words, the looks they exchange, their faces, their bodies … are : my sculpture is an attempt at echoing that secret it keeps working out. Thus must it be a tacit language, an elliptical, allusive way of putting things. Faces and nudities are not quite represented, but rather referred to. As a matter of fact, sculpted phrasing can most reach a wide range of different people -to which it becomes perceptible and speaking for itself- when it springs from the ambiguity of common and private experience, from the entanglement of body and soul, from the delicate blooming of life. Hand crafting is complementing words, with their virtues and limitations, in particular their awkward dealing with people’s nakedness. All my art is about combining both –hands and words- in order to convey this frail return to the roots of one’s life, which, as I thoroughly believe, is the greatest, and maybe unique, chance of our lifetime.

(Translated by Michèle Bustros)

la Reine de Saba - THE QUEEN OF SHEBA
marbre 1989 h.73cm