Brief Statement

The process of creating usually begins with a vibration. What never fails to move me in the contrasting landscapes of sand, salt, snow, ice or rock, is the immense and yet very definite richness that Nature offers the one who can profoundly tune in with her, whether on the large or on the small, even minute scale. Most exciting in creating is the combination of elements such as: the simplicity of primal forms and materials; the diversity and specificity of textures available, and the range of possibilities they suggest; the mystery play of light whose movements, seconds by seconds, shift our perception of things and accentuate the drama of the exalted moment—the artistically accurate Moment to be captured on photograph. In other words, what constitutes a constant source of inspiration for me is the infinitely sensual universe in which ice and earth are the primordial clay, the very elements of cosmic integration in the process of sculpting with light (or color) and dissolving with time.

Sand, rocks, ice and powdered pigments are here not used as "instruments" to express form. They are materials that dictate the artist's gesture. For example, grains of sand or pigments perform through the cutting, melting and welding of sections. To each material corresponds a different gesture, from which an instant of form is born with its singular atmosphere of concreteness and abstraction. Light, as a choreography that retraces the movements of the hand, partakes in the vitally perishable relationship of the work with the time of the day and the changes of nature. [Begin Page 66]

In this aesthetic of disappearance and of the immediate, a dialogue is also created between photography and sculpture. The framing of each artistic event is here deliberately rational. The "unnatural" rectangular delimitation of the photograph is not taken for granted, but is itself a compositional element of the framed event. Emphasizing the two-dimensionality of the image and doing away with scale, and hence avoiding both the illusion of three-dimensional realism and the sentimental location of man in nature, the framing acknowledges its mediating activity, and what it offers is no more no less than an image of the Moment in which the creation takes its (artistically accurate) shape before returning to formlessness.