my Tangrams of painted terra-cotta, the spectator becomes an actor of the
composition by a physical contact with the sculpture. I revisit the classic techniques
of the bas relief, to decline these Tangram in different sizes.
The clay is modelled,
engraved, embossed, then fired and finally painted. Not to enamel my
pieces is a voluntary approach to preserve all the aspect of the terra
cotta. Here the variation of the motives and the tints adds to the
variation of figures.
To get out of the strict
game - without ignoring it totally - and to reach the "scene", as to the
theater, my Tangrams are sometimes magnetized to allow them to move on a steel
surface which can be gilded, covered with fabric or paper too.
I am fascinated by the tangrams:
7 finished and defined pieces and an infinity of representations!
These elementary forms are
not an obstacle to the imagination and to the sensitive expression. On the
contrary it seems that this sobriety allows audacious combinations.
On the symbolic side the
Tangram ask me this question : what could be made with ourselves and with
all the people around us if we had a better consciousness of what we are
and of the way to "play" with it