On the banks of Durance River, far and downstream from my marbles, on banks still deep and wild as might be a Garden of Eden, I recall animals’ footprints that, as a child, I used to delicately make a plaster mould of. The same goes for the hollow mould of my hands in which my earthenware and stones are cast into such full and sensual shapes; it does not take palmistry to recognize what beloved flesh turned them into a caress, into the print of a taking wing, into wings. The Garden of Eden, “Adam”, “the clayey man”, between woman and the world. How could the sculptor’s touch be overlooked, how could his finger prints -like no others- not be divined ? Utterly singular signature –as his “own matter” leaving its mark in earthenware or bronze (see p 14).
(Translated by Michèle Bustros)

             SEAGULL  Avanzini fondeur 1/8 L.44cm 00
SUN-TANGO Landowski 1/8 h.30cm 03