First a drawing, in a small notebook, one night, then, one day, a drawing in space, a drawing in steel or any other rigid material, a geometric space-drawing materialized in three dimensions, a continuous line, a single uninterrupted and 36 times folded line, a long line regularly and perpendicularly folded in space, a line creating space: a sculpture.<\/p>\n
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This sculpture is suggesting a ground, walls, doors and movement.<\/p>\n
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It is clearly an object to look at, and you can master it by one look, this sculpture. But it is also suggesting being enlarged, like sometimes scale models do, until one can cross it. By changing its scale, you don\u2019t change only the dimensions, but also, and above all it\u2019s status.<\/p>\n
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Even if it is penetrable, traversable, bypassable, you cannot use it, at least in a most direct way. This kind of revolving door doesn\u2019t move, you can\u2019t hide behind the walls, and you can\u2019t close the doors: they are staying open, also in a metaphorical sense, in every sense.<\/p>\n
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Seen from far, it is also an image. People inside the work would be part of this image, – even without participating. This big sculpture, which, actually, is not a sculpture anymore but not yet, an architecture, suggests also to invent scenarios, for art-lovers or amateurs, for adults or children.<\/p>\n
A scene for theater plays, for dance, pantomime or any kind of games. The public decides.<\/p>\n
In any case, it is a platform where people can meet in a more easy way, a place for dialogues ( \u2026 ).<\/p>\n
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