With 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 ?