"Branching XXV"

That’s how I’d like to sum up what consumed me while working on the sculpture *Embranchement XXV* and what led me to this form—one that resembles a simple seed but, through extrusions and cutouts, reveals itself to be complex.

For me, this sculpture quite clearly illustrates what I’ve been striving for for a long time : a hybrid form that articulates curves and breaks without disrupting the harmony of the transition from “fluid fullness” to “circled voids.” By “fluid solid,” I mean supple volumes that I liken to living organisms, and by “enclosed voids,” volumes composed of openwork structures, akin to architectural elements.

Ultimately, the resulting form raises questions about the nature of the sculpture. For while it evokes a sort of seed or insect, it also appears to be the result of human manipulation. The presence of two branches of different species running straight through it reinforces the idea of a hybridization that makes this arrangement possible. Thus, the sculpture is not merely the seed, but the seed augmented by the two branches.

A complex form, then, in many ways !

Thus, the sculpture—produced in a series of eight pieces (what is an original work ?) per material (it can be made of silver, bronze, white bronze, colored resin, stainless steel, or even gold)—takes on a unique character. I particularly enjoy placing them in my home in unusual settings, such as suspended from a book on the bookshelf by a branch or mounted on a light fixture. The unusual shape of the *Embranchements* and the delicacy that the combination with small branches lends them shift the way we perceive our daily surroundings at home. They then become a sort of companion that infuses the living space with poetry—true poetic allies.