Inspired by Penone’s work, the Forme de mise en Cène collection includes about ten unique pieces cast in aluminium alloy. Each one comes from a food, taken as a paragon of the ephemeral, which was calcined during the molding process. The molten metal fills the impression thus released and then comes to freeze/capture the vernacular form, so common and yet unique of each subject and thus makes it fall into an almost eternity.
What wants to resemble a transfiguration comes to question the nature of the individual being, how he defines himself within a class of similar individuals and how he participates in defining the latter. However, the foundry artist took care to create a space of freedom for the metal. It is not an exact casting or a perfect reproduction made of another material but a re-reading of the shape by the manufacturing process and the facets of the liquid metal.
The sculptures of the Last Supper Form oscillate between a frank figuration and an unrecognizable abstraction of the initial subject. The surprise is expected at the exit of the mold, the creative dialogue between the artist and the material then continues with the chasing.
Form of biscuits and packaging residue is the fourth piece in the collection. Strictly speaking, they are two independent parts forming a whole. The small shortbread biscuits are as obvious as so many childhood madeleines but the question of this other adjacent shape comes up. What could evoke a devastated urban horizon is none other than the cardboard that covered these cookies.