is mooing in the mountain, like he used to see and to hear them in his chilhood. //
but rather, it opens its inside world. There is this idea that in spite of the artificiality, of the controled shape, there is always a landscape,
a river, an island. And it is only possible to invite one to see those by giving back its importance to the hand - and by this way,
to the part of randomness it expresses.
In the same way as the follies, the parc des buttes Chaumont confronts a residual - out the city - island of nature to its context: the city.
Straight, linear, horizontal and vertical, man-made. Except the crudely wild, everything is man-made. There is the obvious man-made,
the one which adopts generally a precise orthogonal line, and there is the man-made which tries to reproduce organic shape.
a&nII - Lost in the orthogonality underlines the beauty of the irregularity. The confrontation of two steps in the genesis
of the volume - (1) the regular, linear montain and (2) the hatching island + - is the only way to read the unconventional
shape. In this aesthetic, the concept of perfection does not exist ; there is just the manifestation of the hand's random trace.
First is the hand, the genesis of all creations. Second is the world, around the hand. There is the existing and there is the willing:
the simple fact of feeling the natural ornaments, of being part of our common ground. Like a peninsula, these creations are generated
by the movement of their materiality. Shapes are not understood here as just aesthetic: there are elements of many cycles.
Lost in the forest, here it is, like delicately scratched on the ground. In this vegetal macrocosm, the monolith reveals an island:
the artificial mountain is breaking its straight lines, to share all its inside world.
plaster, 20 x 30 x 30 cm
