When I turned to translucent glass paste and transparent crystal, I had to adapt my way of looking at things since, so far, I had only been sculpting opaque materials (earthenware, marble, bronze …) where all that matters is shadow and light, patina, polishing and other surface effects, matte and shiny contrast etc. In glass paste, distributions are different : outward and inward shapes may be superimposed or muddled. Yet you have not read half of what I could say about my fascination for transparency and translucence, and about how long they both contributed to my sculpture : first through the importance of water, streams of wild water inseparable from my marbles; then through that of the transparency in the faces, the voices, the bodies of people … the light, brightness, opacity, turbidity, darkness in them … all such things that turn people into presences that open up or switch off, betray themselves, interchange among one another… Those dimensions I am most sensitive to were bound to become the “very core” of my sculptures.

(Translated by Michèle Bustros)