Salon perdu des Tuileries (2021) - steel, glass and brick - 650 x 800 x 350 cm
Because an artist is not free to choose another sort of life. Creation takes on the form of an ontological obligation. What’s more, my work is intended for public spaces, which are few and far between. I can never lose sight of the fact that I’m being offered a luxury, because it is a luxury to be able to play with public spaces, materials, and the people who pass through them. You really have to know what you’re doing, and try to have as little negative impact as possible on the place you occupy. You have to be efficient, including from an economic standpoint; in other words, you must see to it that you absorb as little as possible compared with what you’re going to create. If you use gold to create something trivial, it will have no added value. If you take concrete powder and a few pieces of recycled wood and create something of beauty out of ugly materials, then you have added to its value. Working with minimal materials is my way of ensuring I deserve my profession of sculptor. - Juan Garaizabal
Tour de l'horloge du palais disparu des Tuileries (2021) steel and white concrete 690 x 480 x 80 cm | Fragment d'hier (2021) |
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