After Morrocco, and a quick stop in my family up north of France, I was extremely please to keep on discovering Africa. I stayed 1 month and half overthere, working in various field of creation, meeting great minds and people, wandering in contrasted neighborhoods, staring at amazing landscapes, and swimming in two oceans.

UNIVERSAL SELF. Bronze sculpture

UNIVERSAL SELF. Bronze. 55cm high. #3/9. 2012.

About Art, because it is what I should talk about here, I’m proud to introduce you to one of my favorite piece I ever did,  a bronze sculpture I did with the great help of Otto from THE FOUNDRY in Capetown.

The first thing I did is listen to my friend which introduce me to two diferent technics, and showed me various treatment of the bronze. I choosed the clay.

Before I could touch the clay, I had to cut a the shapes of  my volume out of polyester. Then soften it a bit with a knife and sand paper, and finally stick the diferent parts together afterwards.

UNIVERSAL SELF

Working polystyren. Capetown, SA. Picture by R.Lee Gordon

And after a few hours I could start interacting with the clay. Those who once tried to modelize something with wet clay know how good is the feeling. Peaceful, smooth, sensual. It’s almost like touching yourself, or someone else. Intimate.

UNIVERSAL SELF

UNIVERSAL SELF. Work in progress. clay. 2012

As it was my first bronze sculpture, but not my first try with clay, I spontaneously felt like doing a profile again. Because I am still a beginner  in Volume. Later on, I’ll do bodies. I already did one face with coiling white clay in Morrocco, but it was extremely difficult since I had to build it step by step, adding stories to my “tower”, with no structure holding it.

This one was much easier and pleasant to do. It was just flowing, and in two afternoons, my part was done.

UNIVERSAL SELF

UNIVERSAL SELF

UNIVERSAL SELF. Working with clay. 2012

This representation of a profile is one of the main symbol of my cosmogony. It came to birth around 10 years ago, and remain present in almost all of my creations. I guess it is a kind of selfportrait since I think any artists tend to represent his self, or a certain vision of hisself in any Act he does.

But also doing a oneline profile allows your Artwork to be closer to your truth. Because the slightest change in your self, in your brain, will travel your body to reach your hand, and will influence the line, and instaneously change the expression of the face you draw. You will then have to recognize who you are in this particular moment of your Life. Sometimes…I see something in the line, and don’t wanna accept it…so i paint layers over as many times needed until it fits my expectation. Then I feel much better.

Here, my hand was acting on volume, so the reaction of the expression of the being was less extreme, but still, in the case of that instant down there in South Africa, I didn’t had to fight, just to flow.

UNIVERSAL SELF

UNIVERSAL SELF

UNIVERSAL SELF. Work in progress. clay. 2012

Once I finished to sculpt the volume in the clay, I had to let my friends taking care about the mould and the polishing. But I stayed around to follow the process in a really particular atmosphere. When the foundry is full at work, it feels like being in  an ancient alchemy laboratory. And I like it, even though if the fire is somehow a bit frightening.

UNIVERSAL SELF

UNIVERSAL SELF. Work in progress. Silicone step.

UNIVERSAL SELF

UNIVERSAL SELF

UNIVERSAL SELF

UNIVERSAL SELF

After the head came out of the fire, out of her shell, we had to polish it and the result was so stunning I though I would live it like that.

UNIVERSAL SELF

UNIVERSAL SELF. Work in progress. Polish.

UNIVERSAL SELF

UNIVERSAL SELF

UNIVERSAL SELF. Work in progress. Polish.

But I finally decided to use a deep blue pigmentation so that it comes back to what it was in its essence, clother to the ground, clother to nature, back to be clay.

UNIVERSAL SELF

UNIVERSAL SELF. Detail. BRONZE. 55cmx30. 2013

UNIVERSAL SELF. by Remed

UNIVERSAL SELF

UNIVERSAL SELF. Bronze. 55cmx30. 2013

Portrait in front of my Bronze sculpture

UNIVERSAL SELF. Bronze. Portrait by R.Pybus

NB : One other thing I liek about this piece is that (unconsciously) the down part (neck and mouth) belong to greek representation, real but smoothed. The middle one is definitely ancient African Art (cubism?), and the top one is contemporary, abstract, conceptual. I thought it was a nice trinity.

PS : I’d like to give a special thanks to my brother Ricky Lee Gordon for his humanity, his iniative, and his hospitality.

P E A C E

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