“In the beginning there’s a sound, the raw mineral, which (with the aid of a mental chisel) is sculpted, reduced, riddled with empty spaces and processed as you might process rock to extract precious metals. Refining the material, chiselling and shaping until, in certain cases, there’s nothing left. Or leaving it raw, massive, almost untouched because it’s already shaped by the mental distance that proceeds a complete confrontation with the whole.

This construction made from remains, sometimes with props or tools, could be a deconstruction by fear of not understanding matter, in its density and immensity. The immense matter is impossible to grasp and this is why one has to dig into it, dive into it, surrender into it. Our minds must be forced into motion because they have the ability to be displaced.
The reverse is not true, which would come down to asking the ocean to become solid to enable us to erect cathedrals or tall buildings on it, Icarian structures intent on scraping skies that could not care less about them.” -Fréderick Galiay

Photo : collage by Fréderick Galiay