"The world exists only in so far as it confides itself to us; and we manage to
exist, be it a little, only in times when we come to terms with confiding ourselves to it" .
There lied painter Shintao's amplitude according to François Cheng (in Shintao "The taste of the world").
When I came to sculpture, late enough in my life, I had the intimate conviction that life was immensely varied in its lavishness, its generosity, its delicacy, though terribly susceptible to our misapprehensions. For instance, about beauty, about a woman’s tenderness. The world exists only through entrusting itself to us, and the unbounded confidence we reciprocate on it, measure for measure in affluence. Complex and ever-renewed harmonies are at work, and the deeper you get involved, the most acute your feeling of being too short, if not mistaken –as François Cheng put it : “that innermost, grieving feeling of one’s lack of congruence with the world, lack of congruence with oneself”.
Hence, what my sculpture sought and trained for was a congruence, a chord, a harmony with what I was given to live, as well as with those that are part of me, confide themselves to me or I entrust myself to. So much can be found in my sculptures that convey harmonies trying to find themselves –serenity, through my inner disputes and beyond them.
(Translated by Michèle Bustros)