The sculpture Branching XIX underwent numerous changes before arriving at its final form. It bears the traces of these changes. Initially, I had the idea of several cubes connected to each other by flexible shapes, a bit like muscles connecting the cubes, suggesting possible movements between the cubes under the effect of the muscles’ action. Then, as is often the case, I changed tools several times, switching from those designed for angular shapes to those intended for creating very flexible and fluid surfaces. Once this contrast in form was clearly established, I began the actual sculpting process, pushing, pulling, marking, and smoothing the volume until it appeared coherent to me. I also removed quite a bit. In the end, there are cubes left (there were four at the beginning, and two remain at the end), their position in space and certain faces which, despite the multiple manipulations they have undergone, inscribe parts of the sculpture in a rectangular plane. The connections between the cubes have retained this idea of coiled muscles. I just tried to make them very dense, unlike other Branching where they stretch out lengthwise. The branches take their place in reservationsThey are held in place by spikes that look like teeth or claws that have grown into the sculpture, further reinforcing the idea that this is a living organism.
This sculpture is an original work produced in a limited edition of 8 pieces (What is an original work ?). It is shown here, as is often the case, in white bronze, but it can also be made in bronze, silver, resin, or even gold !
Each sculpture is unique because the branches I collect in the forest are, by definition, unique. The idea that it is nature that makes each sculpture in the series unique fills me with joy !

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