Through their architectural paintings, Suprematism or Constructivism reacted to the ideas and forms of their time. This evolution of representations, like any pivotal artistic moment, was a production of works and thoughts delivered to the world and given to share.

Using the simplest forms of daily life, those of the most banal everyday usage (particularly containers, sinks, bottles…), but by generating absolute geometrical figures, constructivism transformed them by echoing ancestral representations as well as the result of  thought of millenia of sophistication.

From the depths of time, earth, the original material of our lives and creations, has allowed people to think and build the space in which we act and live.

At the beginning of this century, I feel the same need for dismemberment and rearrangement, as the Russian avant-garde manifested at the dawn of its revolution. Today again, and in an urgent way, it seems to me that our human and artistic task consists not in a consolidation or continuation of the orders established by the dominant way of thinking. It requires flattening of aesthetic laws that seem immutable, but are in fact are only the consensus of a given moment and the expression of the current powers, or a burst of our collective (un)conscience.

Art, it seems to me, is witness to the life of the world. Its creations, its forms and their incessant movements tend inexhaustibly towards the still-open possibilities of the present moment.My hope is that my own work emerges as a witness of these passages/mutations… as the door between our inheritances and our becomings. Therefore, these arrangements of earthen figures that constitute my door are, for me, a very vivid recognition of the realist mass architectural heritage  initiated by the revolutionary Russian avant-gardes. The different parts come together and compose or recompose a passage-landscape, the possibility of what will come, the perspective of what then follows.