Passion for sculpture
Between matter and perception
Arson
Many people ask me why I chose to become a contemporary sculptor, why sculpture rather than painting, when I had started at the Beaux-Arts and considered architecture.
In reality, I did not choose sculpture: it imposed itself upon me.
My sensitivity and my relationship with materials naturally led me to this means of expression. When I begin a work in the studio, guided by an intuition or an irrepressible desire, I never truly know the final result.
Each sculpture then becomes a dialogue between matter, gesture, and emotion.
I consider my work to be a form of surrealist poetry.
And if my world is sometimes described as iconoclastic, I see it rather as a necessary freedom.
Contemporary art too often abounds with decorative objects, repetitions, and visions that have already been seen.
My primary aim is to create works that convey emotion, reflection, or a touch of dream, in an era where the freedom to think, create, and express oneself sometimes seems to be shrinking.
Art remains one of the last spaces of freedom.
And freedom is my raw material.
Most of my sculptures begin with a clay model, before the creation of a mold allowing for castings in resin or metal.
I am sometimes asked why I create editions rather than just unique pieces. Of course, some works exist as one-of-a-kind pieces, but they naturally become rarer and more expensive.
Each sculpture nevertheless retains its own identity. Even within the same series, such as the Esculmaux, the proportions, presence or expression can evolve from one model to another.
These are never simple reproductions, but sculptures each possessing their own character and uniqueness.
What could be more exciting than my work as a contemporary sculptor?
Sometimes I doubt, I fear that a work will not find its balance or that the material will resist the gesture I would like to impose on it.
Sculpture remains for me a profoundly instinctive and sensual experience. There exists in the working of the material a form of constant dialogue, made up of tension, emotion and sometimes fragility.
Love for women, the softness of curves, the sensuality of forms and the search for a presence naturally inhabit my work and are found in many of my sculptures.
After many years spent in Gordes, in Vaucluse, I have now set up my workshop in Bouchet, in Drôme Provençale, in the heart of the luminous landscapes of the South of France.
Even though some of my sculptures are presented in galleries and on international platforms like Artsper or Saatchi Art, I wanted to create this personal space in order to maintain a direct link with art lovers and collectors sensitive to my world.
This online gallery is also an invitation to discover my workshop, my creative environment and this region which deeply nourishes my work.
Between the vineyards of Vacqueyras, Gigondas or Châteauneuf-du-Pape, the stone villages, the Provençal markets and the light of Ventoux, I draw an essential part of my inspiration.
If you wish, I would be happy to welcome you to the studio and discuss my work and contemporary sculpture with you.
To learn more:
How to appreciate the work of a contemporary French sculptor
– What pop art are we talking about?
– Discover Arson's contemporary sculptures
– Discover the importance of sculpture today
- To understand the procedures and advice for acquiring a contemporary sculpture, consult the page on buying a contemporary sculpture .