• There is the language of sculpture and that of literature. It is always difficult to talk about sculpture, my relationship with work is not the domain of the verb. For me creation is directly in the line drawing in wax, stone, earth. The words of the sculptor, are empty and full, his sentences are written in space. It is generally believed that the creation is the shaping of the idea. I wonder if, for the sculptor, and perhaps also for other authors, the form does not precede the idea. Some of my sculptures are born out of an object, a tool, a stone picked up on the ground. Is that the idea is
  • not revealed by the form? Like many other sculptors said before me, the creation is made of doubts, hesitations. We do not know at the start where it leads us. The sculpture has its own existence, its material, its volume, its requirements, it takes possession of its space and finally reveals to me my own worldview. Is Giacometti did not express the same sentiment when he said: «A sculpture really interests me to the extent where it is, for me, the way to make my vision of the outside world. Or more, it isagoge now for me the mean to know this vision. I only can know what I see while
  • working “ For the sculptor the instrument of the knowledge is not the word but the form. By what may seem an apology for the form, I do not take the opposing view of the conceptual art, I’m interested in all the forms of creation, but before entering the Ecole des Beaux Arts in Paris, I received my first salary of a stonemason. If the act of creation is an act of freedom, what gave me the freedom to create is the knowledge and skills in the art. Besides, the process of creating the work on the form is not peculiar to the visual artists,the writer Paul Valéry describes the
  • same experience. He speaks of «the resonance of the execution.» I noticed this sentence I found startling truth. Say that we do not know where the creation leads us may seem paradoxical for a sculptor who has worked extensively on order. One might think that in order all is said, or almost said, but the artwork does lose its status as an object only when it is inhabited. Constraints of the order may make us even more feel the need for the creative input of the labor. Since Michelangelo, nothing has changed much, there must be sweat and pain. Contrary to what one might think, it is not
  • enough to expand a model into a monument. This is a re-creation, but this time to set up a whole work exciting team, assistants and depth. At this time this is a team with its various trades, which resonates in this friendly so fruitful in the art of a sculptor. I love art as a sculptor. After long months of solitary research, dialogue with the model, after many doubts and errors, occur moments of intense activity, almost sensual pleasure so intense that you lose track of time. Then hand anticipates the idea and the work appears in its final form, sometimes within a few hours. And the chemistry of the cast adds a mystery.
    Jean Cardot