Water

Sculpture Addé 2019

Water, along with air, is the basis of all life on earth… It is through it that all life forms are born.

It appeared more than 4 billion years ago, permanently recycled by nature, its global quantity, despite appearances, is low while it is vital.

Buddhism conceives of sins and redemption, but with the exception that they are always washed away in the same water.

This principle applies to the water we share.

If we do not respect it, if we persist in polluting it, we have no possibility of replacing it.

Let’s take care of it!

L’Eau

L’eau est, avec l’air, la base de toute forme de vie sur terre.. C’est à travers elle que toute forme de vie est née.

Apparue il y a plus de 4 milliards d’années, recyclée en permanence par la nature, sa quantité globale, en dépit des apparences, est faible alors qu’elle est vitale.

Le Bouddhisme conçoit les péchés et leur rédemption, mais à ceci près qu’ils sont lavés toujours dans la même eau.

Ce principe s’applique à ce bien commun qu’est l’eau.

Si nous ne la respectons pas, si nous persistons à la polluer, nous n’avons aucune possibilité de la remplacer.

Prenons-en soin !

Water © Addé 2019.

Water © Addé 2019.

Water © Addé 2019.

Water © Addé 2019.

Water © Addé 2019.

Water © Addé 2019.

Water © Addé 2019.

Water © Addé 2019 – photos Xea B.

A sculpture to celebrate water and plead for its respect.

Une sculpture pour célébrer l’eau et plaider pour son respect.

Ode to nature

Sculpture Addé 2019

An ode is structured into three main parts: the stanza, the antistanza and the epode, and is always a drama.

Drama, when nature is so mistreated, abused, destroyed by the human species, acting as if it were the owner of the planet and all its contents.

Animals are considered objects and, therefore, mercilessly deprived of their most basic rights.

Animals have feelings, and a fundamental right to live in harmony.

Animals have a social life, culture, family and friends and deserve respect and consideration.

When after the wars, Vietnam opened up again to tourism, the first to come were… hunters!

The atrocious human suffering was denounced, as was the immense material damage, but the heavy price paid by nature was not.

Once peace was restored, it was still necessary for pitifully proud men, armed, in ridiculous combat clothing, to prolong the massacre and kill the surviving animals for pleasure.

The human species behaves as the absolute owner of a planet that does not belong to it.

Every day, crimes against life are committed with impunity, land destroyed, animals massacred, for unjustifiable reasons.

……………………………

Ode à la nature

Une ode est structurée en trois parties principales : la strophe, l’antistrophe et l’épode, et c’est toujours un drame.

Drame, quand la nature est tellement maltraitée, abusée, détruite par l’espèce humaine, agissant comme si elle était propriétaire de la planète et de tout son contenu.

Les animaux sont considérés comme des objets et, par conséquent, privés impitoyablement de leurs droits les plus élémentaires.

Les animaux ont des sentiments, et un droit fondamental de vivre en harmonie.

Les animaux ont une vie sociale, une culture, une famille et des amis et méritent le respect et la considération.

Lorsqu’après les guerres, le Vietnam s’ouvrit à nouveau au tourisme, les premiers à venir furent… des chasseurs !

Les atroces souffrances humaines furent dénoncées, les immenses dégâts matériels aussi, mais le lourd tribut payé par la nature, ne le fut pas.

La paix retrouvée, il fallait encore que de pitoyables fiers à bras, armés, en tenues de combat ridicules, prolongent le massacre et tuent les animaux survivants pour le plaisir.

L’espèce humaine se comporte en propriétaire absolu d’une planète qui ne lui appartient pas.

Chaque jour, des crimes contre la vie sont commis en toute impunité, les terres ravagées, les animaux massacrés, pour des raisons injustifiables.

Ode to nature ©Addé 2019

Ode to nature ©Addé 2019

Ode to nature ©Addé 2019

Ode to nature ©Addé 2019

Ode to nature ©Addé 2019

Ode to nature ©Addé 2019

Ode to nature ©Addé 2019 – photos Xea B.

A sculpture like a cry of suffering and rage, but also a celebration of absolute beauty, like a funeral monument…

Une sculpture comme un cri de souffrance et de rage, mais aussi une célébration de l’absolue beauté, comme un monument funéraire…

The king of snails

Sculpture Addé 2019

A mythical figure, the king of snails was an enlightened monarch.

Inventor and alchemist, he created the snailicin, a true panacea, as well as the pedunculin, whose role in the treatment of exophthalmos is undeniable.

Author, thinker, and philosopher, he wrote a comparative essay on creeping patterns, thus establishing the particularism of snails in terms of their abdominal power.

He, as well, wrote a masterful treaty on relations with freshwater fish, and in particular with the roaches whose chief was called Marcel.

And a study on the exemplarity of hermaphroditism.

And a monumental manifesto: “we are everywhere”.

His subjects decided to immortalize him, but although brave and conquering in spirit, the good king suffered from a modesty bordering on shyness.

So much so that he accepted to be statufied under the sine qua non conditions, that he remained invisible, that only his shell appeared, and that no bladder tulip came to spoil the landscape.

……………………………

Le Roi des escargots 

Figure mythique, le roi des escargots fut un monarque éclairé.

Inventeur et alchimiste, il créa l’escargotine, véritable panacée, ainsi que la pédonculine, dont le rôle dans le traitement de l’exophtalmie est indéniable.

Auteur, penseur, et philosophe, il écrivit un essai comparatif des modes de reptation, établissant ainsi le particularisme des escargots quant à leur puissance abdominale.

Il composa également un traité magistral des relations avec les poissons dulçaquicoles, et en particulier avec les gardons dont le chef s’appelait Marcel.

Aussi, une étude sur l’exemplarité de l’hermaphrodisme.

Et un monumental manifeste : « nous sommes partout ».

Ses sujets décidèrent de l’immortaliser, mais bien que courageux et d’esprit conquérant, le bon roi souffrait d’une modestie confinant à la timidité.

Si bien qu’il accepta d’être statufié aux conditions sine qua non, qu’il restât invisible, que seule sa coquille apparaisse, et qu’aucune tulipe de baudruche ne vienne gâcher le paysage.

The king of snails © Addé 2019.

The king of snails © Addé 2019.

The king of snails © Addé 2019.

The king of snails © Addé 2019.

The king of snails © Addé 2019.

The king of snails © Addé 2019 – photos Xea B.

A sculpture in honour of one of the greats of this world….

Une sculpture en l’honneur d’un des grands de ce monde…

Tribute to the snails

Beauty of Mathematics

For many of us, the word itself brings back painful memories, even « dark sarcasm in the classroom » with the sad result of rejecting the domain.

Nevertheless and beyond prejudice, from the most ancient statements to the theory of everything, including the « divine » golden ratio, mathematics are vertiginous

How on earth can maths be beautiful, and does it matter?

Well, it does matter in the proper sense, since the whole universe actually IS mathematics as well as an open window on infinity.

Bertrand Russell expressed his sense of mathematical beauty in these words:

Mathematics, rightly viewed, possesses not only truth, but supreme beauty—a beauty cold and austere, like that of sculpture, without appeal to any part of our weaker nature, without the gorgeous trappings of painting or music, yet sublimely pure, and capable of a stern perfection such as only the greatest art can show. The true spirit of delight, the exaltation, the sense of being more than Man, which is the touchstone of the highest excellence, is to be found in mathematics as surely as poetry.

………………………….

Beauté des mathématiques

Pour beaucoup d’entre nous, le mot lui-même nous rappelle des souvenirs douloureux, même des “sarcasmes sombres dans la classe” avec le triste résultat de rejeter le domaine.

Néanmoins et au-delà des préjugés, des déclarations les plus anciennes à la théorie du tout, les mathématiques sont vertigineuses, y compris le “divin “nombre d’or.
Comment diable les maths peuvent-elles être belles, et est-ce important ?

Oui, parce que c’est la matière même, quand l’univers tout entier EST en fait mathématique, et une fenêtre ouverte sur l’infini.

Bertrand Russell a exprimé son sens de la beauté mathématique dans ces mots :

Les mathématiques, considérées pour ce qu’elles sont, possèdent non seulement la vérité, mais la beauté suprême – une beauté froide et austère, comme celle de la sculpture, sans appel à aucune partie de notre nature plus faible, sans les superbes attributs de la peinture ou de la musique, mais sublimement pure, et capable d’une perfection sévère telle que seul le plus grand art peut en montrer. Le véritable esprit de plaisir, l’exaltation, le sentiment d’être plus que l’homme, qui est la pierre de touche de la plus haute excellence, se trouve en mathématiques aussi sûrement que la poésie.

Beauty of mathematics, sculpture, Addé

Beauty of mathematics, sculpture, Addé

Beauty of mathematics, sculpture, Addé

Beauty of mathematics, sculpture, Addé

Beauty of mathematics, sculpture, Addé

Beauty of mathematics, sculpture, Addé

Beauty of mathematics, sculpture, Addé

Beauty of mathematics, sculpture, Addé

Beauty of mathematics, sculpture, Addé

Beauty of mathematics, sculpture, Addé

Beauty of mathematics, sculpture, Addé

Beauty of mathematics, sculpture, Addé

A sculpture to celebrate mathematics (and the divina proportio) deserves the author being stoned… with marshmallows.

Une sculpture pour célébrer les mathématiques (et la divina proportio) mérite, pour l’auteur, d’être lapidé… avec des guimauves.

The bitter golden snail

Sculpture Addé 2019

The bitter golden snail (Helix nicrophagus photis goinfrex) is a peculiar scavenger species mainly fond of chicken, which can be seen gathered around specialized (so called) restaurants serving these preparations.

Invisible during opening hours (11am to 23pm) it later on, feasts until dawn, on the delicious leftovers, cleaning, joly, the bony parts.

L’ escargot mordoré

L’ escargot mordoré (Helix nicrophagus photis goinfrex) est une espèce particulière, charognarde, principalement friande de poulet et on peut la voir rassemblée autour de (soi-disant) restaurants spécialisés servant ces préparations.

Invisible pendant les heures d’ouverture (11h à 23h), après lesquelles il se régale jusqu’à l’aube, des restes savoureux, les nettoyant, joyeusement, jusqu’à l’os.

The bitter golden snail © Addé 2019.

The bitter golden snail © Addé 2019.

The bitter golden snail © Addé 2019.

The bitter golden snail © Addé 2019.

The bitter golden snail © Addé 2019.

The bitter golden snail © Addé 2019.

The bitter golden snail © Addé 2019.

The bitter golden snail © Addé 2019 – photos Xea B.

A sculpture to say Nature demands respect. When you feed cows with meat, you might end up with carnivorous gasteropods.

Une sculpture pour dire que la Nature impose le respect. Lorsque vous nourrissez les vaches avec de la viande, vous risquez de vous retrouver avec des gastéropodes carnivores.

The Macabre Dance

Sculpture Addé 2019

The Middle Ages was a long period of history during which wars, incessant fighting, unstoppable famines and plagues, public executions, and misery, made the vision of death omnipresent.

Not only present but visible, death, the dead in all their states, were part of life.

Nowadays, death is discreet, blurred, masked, sweetened, in short, practically invisible in its crude reality.

For centuries, it has been a terrible vision that had to be sublimated.

The macabre dance, which unites living and dead in the same movement, also contains an egalitarian morality: from the richest to the poorest, from the most powerful to the most miserable, all hold hands in this hopeless saraband empty of desire, empty of illusion, towards the tomb of vanities.

“Death looks neither at the rank, nor at the wealth, nor at the sex, nor at the age of those it brings into its dance”.

La Danse Macabre

Le Moyen Âge a été une longue période de l’histoire au cours de laquelle les guerres, les combats incessants, les famines et les fléaux insurmontables, les exécutions publiques et la misère ont rendu omniprésente la vision de la mort.

Non seulement présente mais visible, la mort, les morts dans tous leurs états, faisaient partie de la vie.

Aujourd’hui, la mort est discrète, floue, masquée, édulcorée, bref, pratiquement invisible dans sa dure réalité.

Pendant des siècles, c’est une vision terrible qu’il a fallu sublimer.

La danse macabre, qui unit les vivants et les morts dans un même mouvement, contient aussi une morale égalitaire : des plus riches aux plus pauvres, des plus puissants aux plus misérables, tous se tiennent la main dans cette sarabande sans espoir, sans désir, sans illusion, vers la tombe des vanités.

« La Mort ne regarde ni le rang, ni les richesses, ni le sexe, ni l’âge de ceux qu’elle fait entrer dans sa danse ».

The Macabre Dance © Addé 2019.

The Macabre Dance © Addé 2019.

The Macabre Dance © Addé 2019.

The Macabre Dance © Addé 2019.

The Macabre Dance © Addé 2019.

The Macabre Dance © Addé 2019.

The Macabre Dance © Addé 2019.

The Macabre Dance © Addé 2019.

The Macabre Dance © Addé 2019.

The Macabre Dance © Addé 2019.

The Macabre Dance © Addé 2019 – photos Xea B.

A sculpture to celebrate life

Une sculpture pour célébrer la vie

La Danse Macabre – Camille Saint-Saëns

Similia similibus curantur

Sculpture Addé 2019

A sculpture as a proposal to treat trypophobia.

Phobiae are most often misunderstood and/or ridiculed.

However, they are well-founded, and their origin lies in a forgotten, repressed “primitive scene”, but whose consequences are that unreasonable fear whose object may often seem derisory.

The cure exists, which consists of a slow and progressive taming of the phobic object, according to a surprising approach similar to that of Samuel Hahnemann (1755-1843), founder of homeopathy, whose principle is based on similarity.

………………..

Une sculpture comme une proposition pour traiter la trypophobie.

Les phobies sont la plupart du temps incomprises et/ou tournées en dérision.

Elles sont cependant fondées, et trouvent leur origine dans une « scène primitive » oubliée, refoulée, mais dont les conséquences sont cette peur irraisonnée dont l’objet peut souvent sembler dérisoire.

La cure existe, qui consiste en un lent et progressif apprivoisement de l’objet phobique, selon une démarche étonnement proche de celui de Samuel Hahnemann (1755-1843) fondateur de l’homéopathie dont le principe repose sur les semblables.

Similia similibus curantur © Addé 2019.

Similia similibus curantur © Addé 2019.

Similia similibus curantur © Addé 2019.

Similia similibus curantur © Addé 2019.

Similia similibus curantur © Addé 2019.

Similia similibus curantur © Addé 2019.

Similia similibus curantur © Addé 2019.

Similia similibus curantur © Addé 2019.

Similia similibus curantur © Addé 2019.

Similia similibus curantur © Addé 2019.

Similia similibus curantur © Addé 2019.

Similia similibus curantur © Addé 2019.

Similia similibus curantur © Addé 2019 – photos Xea B.

Aeolian murmur

Sculpture by Addé 2019

Winds are air in motion.

Since the oldest of our times, winds have been part of life, from the most feared ones, to the sweetest breeze.

Winds have been named, deified, even became persons’ names, and, mostly have been used for progress and development, such as trade winds for navigation, and mills.

But moreover, winds are part of poetry and songs, inseparable inspiring companions of human voyage through times.

Murmure éolien

Les vents sont l’air en mouvement.

Depuis les temps les plus anciens, les vents ont fait partie de la vie, depuis les plus redoutés jusqu’à la brise la plus douce.

Les vents ont été nommés, déifiés, sont même devenus des noms de personnes et, pour la plupart, ont été utilisés pour le progrès et le développement, comme les alizés pour la navigation, et les moulins.

Mais de plus, les vents font partie de la poésie et des chants, inséparables compagnons de voyages humains à travers les temps.

Aeolian murmur © Addé 2019.

Aeolian murmur © Addé 2019.

Aeolian murmur © Addé 2019.

Aeolian murmur © Addé 2019.

Aeolian murmur © Addé 2019.

Aeolian murmur © Addé 2019.

Aeolian murmur © Addé 2019.

Aeolian murmur © Addé 2019.

Aeolian murmur © Addé 2019.

Aeolian murmur © Addé 2019 – photos Xea B.

In memoriam : Jimi Hendrix – The Wind Cries Mary

A sculpture to celebrate the exquisite, sweet, and delicate sensation of a soft breeze chanting in the ears.

Une sculpture pour célébrer la sensation exquise, légère et délicate d’une douce brise chantant aux oreilles.

africanhomage.com/tribute/jimi-hendrix/

Via Ferrata

Sculpture by Addé 2019

A via ferrata is built to allow safe climbing along very steep rocks walls, cliffs, peaks, thanks to climbing aids, such as cables, steel rungs, rings, carved steps, pitons, and, sometimes, ladders and bridges.

Found mainly in the Alps, but not only, graded from “easy” to “extremely difficult” vie ferrate give access to beautiful places, otherwise inaccessible.

In difficulty, they can range from routes that are little more than paths, albeit in dramatic and exposed situations, to very steep and strenuous routes, demanding stamina for serious rock climbing.

Metaphorically, when facing harsh situations in life, when confronted with what seems impossible to overcome, simple, yet solid helps may be found.

Whether human or material.

Putting oneself in hazardous situations maybe be by choice or accidental, yet, whatever might occur, it deserves a life line.

…………………….

Une via ferrata est construite pour permettre de grimper en toute sécurité le long de parois rocheuses très raides, de falaises, de pics, grâce à des aides à l’escalade telles que câbles, échelons en acier, anneaux, marches taillées, pitons, et, parfois, échelles et ponts.

Trouvées principalement dans les Alpes, mais pas seulement, classées de “facile” à “extrêmement difficile” les vie ferrate donner accès à de beaux endroits, autrement inaccessibles.

En difficulté, ils peuvent aller de sentes avec quelques difficultés, à des voies très raides et pénibles, exigeant de l’endurance pour une escalade sérieuse.

Métaphoriquement, face à des situations difficiles dans la vie, face à ce qui semble impossible à surmonter, on peut trouver des aides simples, mais solides.

Qu’elles soient humaines ou matérielles.

Se mettre dans des situations dangereuses peut être un choix ou un accident, mais, quoi qu’il arrive, nécessite une ligne de sécurité.

Via Ferrata © Addé 2019.

Via Ferrata © Addé 2019.

Via Ferrata © Addé 2019.

Via Ferrata © Addé 2019.

Via Ferrata © Addé 2019.

Via Ferrata © Addé 2019.

Via Ferrata © Addé 2019.

Via Ferrata © Addé 2019 – photos Xea B.

A sculpture to give strength when cliff-hanging.
Une sculpture pour donner de la force quand on est suspendu dans le vide.

For Ever Rest

Sculpture Addé 2019

Climbing the highest mountains, the fallen ones will remain on the spot, frozen beacons for their followers.
For Ever Rest…

Some mountaineers speak of their passion in terms of elevation (no pun intended) contemplation, silence, magnificence of nature, state of grace, and transcendence.

Others speak of conquest, victory, performance, record, and it all end up in a black Friday mess, queuing and brawling, leaving piles of rubbish and pollution behind.

Understands who can…

For Ever Rest – Sculpture Addé 2019

Escaladant les plus hautes montagnes, ceux qui échouent resteront sur place, balises gelées pour les suivants.
For Ever Rest…

Certains alpinistes parlent de leur passion en termes d’élévation (sans jeu de mot) de contemplation, de silence, de magnificence de la nature, d’état de grâce et de transcendance.

D’autres parlent de conquête, de victoire, de performance, de record, et tout cela finit dans le désordre d’un vendredi noir, faisant la queue et se bagarrant, laissant derrière eux quantité de déchets et de pollution.

Comprend qui peut…

For Ever Rest © Addé 2019.

For Ever Rest © Addé 2019.

For Ever Rest © Addé 2019.

For Ever Rest © Addé 2019.

For Ever Rest © Addé 2019.

For Ever Rest © Addé 2019.

For Ever Rest © Addé 2019.

For Ever Rest © Addé 2019 – photos Xea B.

This sculpture is dedicated to « Green Boots » and all alpinists who try to tame death. Requesciat in Pace…

Cette sculpture est dédiée à “Green Boots” et à tous les alpinistes qui tentent d’apprivoiser la mort. Requesciat in Pace…..

Absolutely fabulous snail

Sculpture Addé 2019

The absolutely fabulous snail (Helix erythrós mytosis) is a rare yet sad example of a human induced mutation.

Out of any scientific explanation, this species is only found in very exclusive resorts praised by jet-setters usually identified as « people » as if the rest of humanity were not.

Although nocturnal, it seems to appreciate a certain type of decerebrating environment featuring hammery musics, blinding light shows, and, furthermore, enjoys left overs of illicit substances of which it gorges till implosion.

………………………..

Escargot absolument fabuleux – Sculpture Addé 2019

L’escargot absolument fabuleux (Helix erythrós mytosis) est un exemple rare mais triste de mutation induite par l’homme.

Sans aucune explication scientifique, cette espèce ne se trouve que dans des lieux exclusifs, loués par des jet-setters généralement identifiés comme des “people” (des gens) comme si le reste de l’humanité ne l’était pas.

Bien que nocturne, il semble apprécier un certain type d’environnement décérébrant, avec des musiques martelées, des jeux de lumière aveuglants, et, de plus, profite des reliefs de substances illicites dont il se gorge jusqu’à implosion.

Absolutely fabulous snail © Addé 2019.

Absolutely fabulous snail © Addé 2019.

Absolutely fabulous snail © Addé 2019.

Absolutely fabulous snail © Addé 2019.

Absolutely fabulous snail © Addé 2019.

Absolutely fabulous snail © Addé 2019.

Absolutely fabulous snail © Addé 2019.

Absolutely fabulous snail © Addé 2019 – photos Xea B.

A bling sculpture to show that the end justifies the means

Une sculpture éclatante pour montrer que la fin justifie les moyens

The spiky snail – Sculpture by Addé 2019

The spiky snail (helix echinos anachoretes) has a strange and dramatic story.
Originally gentle and sociable, it was unexpectedly targeted by the Spanish Inquisition as its eyes, horn-like large retractable tentacles, were regarded as a devilish sign, therefore classified 11 on a scale of 10.
Chased, persecuted, the species found refuge in the obscurity of heavy metal mines, where it developped spikes a well as taste for darkness and syncopation.
Nowadays, they are found undergroud in large escargatoires, gathering close to telluric events and seem to enjoy trembling powerful sounds.

……………….

L’escargot à pointes – Sculpture by Addé 2019

L’escargot à pointes (helix echinos anachoretes) a une histoire étrange et dramatique.
Bien que doux et sociable, il a été la cible inattendue de l’Inquisition espagnole car ses yeux, grands tentacules rétractables semblables à des cornes, étaient considérés comme un signe diabolique, donc classés 11 sur une échelle de 10.
Chassée, persécutée, l’espèce a trouvé refuge dans l’obscurité des mines de métaux lourds, où elle a développé des piques, ainsi qu’un goût pour l’obscurité et la syncope.
Aujourd’hui, on les retrouve en milieu souterrain, en grandes escargatoires, se rassemblant au plus près des événements telluriques et semblant jouir de sons puissants et tremblants.

The spiky snail © Addé 2019 – photos Xea B.

A sculpture tribute to Uranian Willy, the Heavy Metal Kid in William S. Burroughs’ novel « The Soft Machine ».

Une sculpture en hommage à Uranian Willy, le Heavy Metal Kid dans le roman de William S. Burroughs « The Soft Machine ».

The Patriotic snail – Sculpture Addé 2019

Following the extraordinary success of the cotton candy D.N.A. Project*  the U.N. Snail Project** took place, which almost failed, until Tim, the pizza delivery boy, saved it.

* The cotton candy D.N.A. Project, although kept at an experimental level for ethical reasons, consisted in genetic manipulations, associating a certain species of spider and bees to produce organic honey flavoured cotton candy.

** The United Nations Snail Project, following the success of the previous experiment, consisted in sophisticated manipulations in order to produce snail shells sporting the colours of every nation’s flag.

The project was turning out as a total failure, when Tim, delivering pizze, said « thanks for the tip, but here’s mine, tip for tip : why don’t you just paint the bloody shells ».

……………….

L’escargot patriotique – Sculpture Addé 2019

Suite à l’extraordinaire succès du Projet de barbe à papa A.D.N.*, le projet Escargot des Nations** a eu lieu, qui a presque échoué, jusqu’à ce que Tim, le livreur de pizza, le sauve.

* Le projet de barbe à papa A.D.N. bien que maintenu à un niveau expérimental pour des raisons éthiques, consistait en des manipulations génétiques, associant une certaine espèce d’araignée et des abeilles pour produire de la barbe à papa biologique aromatisée au miel.

** Le projet Escargot de l’ONU, après le succès de l’expérience précédente, consistait en des manipulations sophistiquées afin de produire des coquilles d’escargot aux couleurs de chaque drapeau national.

Le projet s’est avéré être un échec total, lorsque Tim, livrant les pizze, a dit « merci pour le « tip », mais voici le mien, tip pour tip : pourquoi ne pas simplement peindre les foutues coquilles ».

The Patriotic snail  © Addé 2019 – photos Xea B.

A sculpture to say that if Nations would wave their flags at the speed of snails, conflicts might follow the same pace.

Une sculpture pour dire que si les Nations brandissaient leurs drapeaux à la vitesse des escargots, les conflits pourraient suivre le même rythme.

The Arctic snail – Sculpture Addé 2019

The Arctic snail (Helix pagosis krúos) contrary to most species, lives in the coldness of snow and ice, thanks to very peculiar alcoholic fluids.

It paradoxally burrows during the warm seasons.

This particularity, once synthesized, has allowed the drastic improvement of anti-freeze fluids widely used now in industry.

The Inuits regard it as a delicacy, calling it by specific names such as « tittigusuttuq » (amusing) «  inuktitut » (wasted) or « akaugunniiqtuq » (damaged) although the translations remain uncertain.

Inuktitut, the Inuit language remains obscure, when, for instance, « Parimunngaujumaniralauqsimanngittunga » was thought to mean « I don’t want this record, it is scrached » when the true meaning was eventually found « I never said I wanted to go to Paris ».

 
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L’escargot Arctique – Sculpture Addé 2019

L’escargot Arctique (Helix pagosis krúos), contrairement à la plupart des espèces, vit dans le froid de neige et de glace, grâce à des fluides alcooliques très particuliers.

Paradoxalement, il s’enfouit pendant les saisons chaudes.

Cette particularité, une fois synthétisée, a permis l’amélioration radicale des liquides antigel largement utilisés aujourd’hui dans l’industrie.

Les Inuits le considèrent comme une friandise, l’appelant par des noms spécifiques comme ” tittigusuttuq ” (amusant), ” inuktitut ” (hagard) ou ” akaugunniiqtuq ” (endommagé) bien que les traductions restent incertaines.

L’inuktitut, la langue Inuit reste obscure, quand, par exemple, on pensait que “Parimunngaujumaniralauqsimanngittunga” signifiait ” Je ne veux pas de ce disque, il est rayé ” quand le vrai sens a finalement été trouvé ” Je n’ai jamais dit je voulais aller à Paris “.

The Arctic snail © Addé 2019 – photos Xea B.

A sculpture that won’t melt, no matter what.
Une sculpture qui ne fondra pas, quoi qu’il arrive.

The glittering snails – Sculpture Addé 2019

In the depth of the forest, when the moon turns red and myriads of stars shine, fairies’ roister, fireflies and luminescent mushrooms illuminate the clearing, cicadas and grasshoppers play enchanted music, while the glittered snails (Helix paleās komonensis) dance around a secret choreography only known to them.

The glittering of snails is a privilege given to the Ghillies, masters of twinkling, by the guild of Elves.

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Les escargots scintillants – Sculpture Addé 2019

Au fond de la forêt, quand la lune devient rouge et que des myriades d’étoiles brillent, les fées s’éclatent, les lucioles et les champignons luminescents illuminent la clairière, les cigales et les sauterelles jouent une musique enchantée, tandis que les escargots scintillants (Helix paleās komonensis) dansent une chorégraphie secrète qu’ils sont seuls à connaître.

Le pailletage des escargots est un privilège donné aux Ghillies, maîtres du scintillement, par la guilde des Elfes.

The glittering snails © Addé 2019 – photos Xea B.

A sculpture to introduce the rarely seen ghillie snail

Une sculpture pour présenter le rarement aperçu escargot ghillie.

The Goblin snail – Sculpture by Addé 2019

The Goblin snail (Helix brooniensis pseudếs) thanks to a superficially porous shell, gathers and keeps tiny herbs which eventually allow it to become invisible, as long as it keeps on grassy grounds.

Unfortunately, being a party animal, it gorges itself to fermented fruits, therefore getting drunk, then going on a rampage under the leitmotiv of « what could go wrong ».

It then gets involved in brawls with its congeners calling him « grassy » or « green bollock » oftenly ending, bruised and flabbergasted, on the wrong terrain.

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L’escargot lutin – Sculpture par Addé 2019

L’escargot lutin (Helix brooniensis pseudếs), grâce à une coquille superficiellement poreuse, amasse et conserve de minuscules pousses qui lui permettent de devenir invisible, tant qu’il reste sur des sols herbeux.

Malheureusement, en tant qu’animal de fête, il se gave de fruits fermentés, se soûle donc, puis se déchaîne sous le leitmotiv de ” qu’est ce qui pourrait mal tourner “.

Il s’engage alors dans des bagarres avec ses congénères l’appelant ” herbeux ” ou ” couille verte “, terminant souvent, meurtri et sidéré, sur le mauvais terrain.

The Goblin snail © Addé 2019 – photos Xea B.

A sculpture to introduce the rarely seen ghillie snail
Une sculpture pour présenter le rarement aperçu escargot ghillie.

Chameleon snail – Sculpture by Addé 2019

The chameleon snail (Gasteropoda mīmētikós ommatomôrós) a long time extinct species, has been found by paleomalacologists in a Cambrian stratum.

Research has been undertaken since this species did not last much.

Astonishingly, scientists were able to discover the very unique ability of the snail to change its shell colours, blending with its environment as chameleons do.

Then with deeper research on why it disappeared, implementing advanced technologies and computerized simulation, they found out that it was colour-blind.

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Escargot caméléon – Sculpture par Addé 2019

L’escargot caméléon (Gasteropoda mīmētikós ommatomôrós), une espèce disparue depuis longtemps, a été trouvé par des paléomalacologues dans une strate cambrienne.

Des recherches ont été entreprises parce que cette espèce n’a pas duré très longtemps.

Étonnamment, les scientifiques ont pu découvrir la capacité unique de l’escargot à changer la couleur de sa coquille, se fondant dans son environnement comme le font les caméléons.

Puis, grâce à des recherches plus approfondies sur les raisons de sa disparition, à la mise en œuvre de technologies de pointe et à la simulation par ordinateur, ils ont découvert qu’il était daltonien.

Chameleon snail © Addé 2019 – photos Xea B.

A sculpture to express the subjectivity of senses

Une sculpture pour exprimer la subjectivité des sens.

The blue snail

Sculpture by Addé 2019

The little known blue snail (Helix ypsilá Nelsonensis) a monophagous species, is strictly feeding on cannabis’ inflorescences.

Although long time unknown by conchyliologists, it is strongly appreciated and protected in some parts of the planet for a specific reason.

In the manner of the luwak (Paradoxurus hermaphroditus) whose excrements contain the world’s best (and most expensive) coffee beans, those of the blue snail constitute the best and strongest form of THC extract.

Named Siput siput (in Malay) this rare product is only known to the wealthiest.

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L’escargot bleu – Sculpture by Addé 2019

L’escargot bleu (Helix ypsilá Nelsonensis), une espèce monophage peu connue, se nourrit strictement des inflorescences du cannabis.

Bien que longtemps inconnu des conchyliologues, il est fortement apprécié et protégé dans certaines parties de la planète pour une raison bien précise.

A la manière du luwak (Paradoxurus hermaphroditus) dont les excréments contiennent les meilleurs (et les plus chers) grains de café du monde, ceux de l’escargot bleu constituent la meilleure et la plus puissante forme d’extrait de THC.

Appelé Siput siput (en malais), ce produit rare n’est connu que des plus fortunés.

The blue snail © Addé 2019.

The blue snail © Addé 2019.

The blue snail © Addé 2019.

The blue snail © Addé 2019.

The blue snail © Addé 2019.

The blue snail © Addé 2019.

The blue snail © Addé 2019 – photos Xea B.

This sculpture was slowly constructed

Cette sculpture a été construite lentement

Drought – Sculpture by Addé 2019

Life on earth relies on water.

All life forms do.

The marine life, of which we still know very little, is facing a serious pollution threat, while land life is confronted with many dangers: overpopulation, natural disasters, deforestation, and massive pollution.

Drought is a “silent” form of catastrophe when clean fresh water is vital for all.

When plants die, insects will come next, as well as animals, from the tiniest to the largest, and, of course, humans.

Water, although being the most ordinary, common, banal, fluid, is vital in the proper sense.

Please do not waste it.

 
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Sécheresse – Sculpture par Addé 2019

La vie sur terre repose sur l’eau.

Toutes les formes de vie le sont.

La vie marine, dont nous savons encore très peu de choses, est confrontée à une grave menace de pollution, tandis que la vie terrestre est confrontée à de nombreux dangers : surpopulation, catastrophes naturelles, déforestation et pollution massive.

La sécheresse est une forme “silencieuse” de catastrophe quand l’eau douce et saine est vitale pour tous.

Lorsque les plantes meurent, les insectes viennent ensuite, tout comme les animaux, du plus petit au plus grand et, bien sûr, les humains.

L’eau, bien qu’elle soit le fluide le plus ordinaire, le plus commun, le plus banal, est vitale au sens propre du terme.

S’il vous plaît, ne la gaspillez pas.

Drought © Addé 2019 – photos Xea B.

The driest sculpture ever…

La sculpture la plus sèche jamais réalisée….

Sic transit gloria mundi – Sculpture by Addé 2019

Since antiquity, fame, celebrity, power, have been part of history, however, there were cautions given, moderating their infatuating effects, with words of wisdom the ancient Greeks called sophrosyne (the golden mean).

In ancient Rome, during a triumphal ceremony, a servant would stand behind the victorious general repeating “Respice post te! Hominem te esse memento!” to remind him that, despite his success he was only a human, therefore, mortal.

This was also applied to newly elected popes, when a monk would appear three times before him, burning a strand of oakum at his feet, and say “Sancte Pater, sic transit gloria mundi” “Thus passes the glory of the world”.

In Byzantium, at the time of his accession to the throne, the emperor was receiving human ashes and bones for the same reason.

These rituals were there to guard against any pride or vanity.

Fame was the result of some outstanding acts, a consequence to live with and manage.

Today, fame has become the objective, no matter how, no matter the reason, celebrity is seen as a finality, and, of course, without any modesty, let alone any sense of shame.

O tempora o mores

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Depuis l’antiquité, la gloire, la célébrité, le pouvoir, ont fait partie de l’histoire, cependant, il y avait des mises en garde données, modérant leurs effets infatuants, avec des mots de sagesse que les anciens Grecs appelaient sophrosyne (le juste milieu).

Dans la Rome antique, lors d’une cérémonie triomphale, un serviteur se tenait derrière le général victorieux en répétant “Respice post te ! Hominem te esse memento ! pour lui rappeler que, malgré son succès, il n’était qu’un humain, donc mortel.

Cela s’appliquait aussi aux papes nouvellement élus, lorsqu’un moine apparaissait trois fois devant lui, brûlant une touffe d’étoupe à ses pieds, et disait “Sancte Pater, sic transit gloria mundi” “Ainsi passe la gloire du monde”.

A Byzance, au moment de son accession au trône, l’empereur recevait des cendres et des os humains pour la même raison.

Ces rituels étaient là pour se prémunir contre toute fierté ou vanité.

La gloire est le résultat d’actes exceptionnels, une conséquence à vivre et à gérer.

Aujourd’hui, la célébrité est devenue l’objectif, peu importe comment, peu importe la raison, la célébrité est considérée comme une finalité, et, bien sûr, sans aucune modestie, sans parler du moindre sentiment de honte.

O tempora o mores

Une sculpture pour rappeler que tout doit passer.

Sic transit gloria mundi © Addé 2019 – photos Xea B.

A sculpture as a reminder all things must pass.

La cattiva strada, a song by Fabrizio de André is about what morals, moralists, call the wrong way, implicitly the bad road in a moral sense.

Author Cesare Romana commented on “La cattiva strada” as the philosophy of a great moralist disguised as an “immoralist”.

Do we have a moral sense ?

Is wrong doing wrong, or is it a way to perceive what should be right ?

The concept of right or wrong has always been an important matter through times.

Philosophy, religion, psychology are speculating the matter as a fundament of any form of society, being well understood there is an individual and a collective consciousness which both possess some elasticity.

Moral sentimentalism is a theory of the origin of our concepts and/ or judgments about morality, about vice and virtue, good and evil, right and wrong. It has been exposed and described in the XVIIIth century.

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La cattiva strada, une chanson de Fabrizio de André parle de ce que les moralistes appellent la voie mauvaise, implicitement le mauvais chemin au sens moral.

L’auteur Cesare Romana a commenté “La cattiva strada” comme la philosophie d’un grand moraliste déguisé en immoraliste.

Avons-nous un sens moral ?

Est-ce mal de faire le mal, ou est-ce une façon de percevoir ce qui devrait être bien?

La notion de bien ou de mal a toujours été une question importante au fil du temps.

La philosophie, la religion, la psychologie spéculent la question en tant que fondement de toute forme de société, étant bien compris qu’il existe une conscience individuelle et une conscience collective, qui toutes deux, possèdent une certaine élasticité.

Le sentimentalisme moral est une théorie de l’origine de nos conceptions et/ou jugements sur la moralité, le vice et la vertu, le bien et le mal, le juste et l’injuste. Elle a été exposée et décrite au XVIIIe siècle.

Cette sculpture parle de la cattiva strada, ma questa non c’è la via Gluck !

La cattiva strada © Addé 2019 – photos Xea B.

This sculpture is about la cattiva strada, ma questa non c’è la via Gluck !

Science Fiction – Sculpture by Addé 2019

By the end of the XIXth century, with the rise and development of industry, the concept of progress became so pregnant that it soon gave birth to a new genre : Science Fiction.

Although many authors, artists, fantasized the future, some of them were quite accurate, such as H.G. Wells, or Jules Verne, who would, in some ways foresee what the world will become.

Then, it opened to more speculative domains, turning to a reflection on human destiny, philosophy, psychology, and the uncertainties of progress
with amazing and unsettling results, such as authors Orwell or Huxley, and a great deal of master pieces.

With the progress of science, new fields arise such as exobiology, trying to speculate what life forms could be under different conditions, other that our own environment.

Yet, what scientists may evaluate is very little compared with the phenomenal artistic creations of all sorts of life forms.

What seems interesting there stands in the fact that whatever was/ is imagined, no matter how strange or surprising, those forms are created by humans, thus, are belonging to earth…

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A la fin du XIXe siècle, avec l’essor et le développement de l’industrie, la notion de progrès est devenue si porteuse qu’elle a rapidement donné naissance à un nouveau genre : la Science Fiction.

Bien que de nombreux auteurs, artistes, aient imaginé un futur, certains d’entre eux étaient visionnaires, tels H.G. Wells, ou Jules Verne, qui, d’une certaine façon, prévoyaient ce que le monde allait devenir.

Puis, elle s’est ouverte à des champs plus spéculatifs, se tournant vers une réflexion sur le destin humain, la philosophie et la psychologie et les incertitudes du progrès, avec des résultats étonnants et inquiétants, tels Huxley ou Orwell, et de nombreux chefs-d’œuvre.

Avec les progrès de la science, de nouveaux domaines apparaissent comme l’exobiologie, essayant de concevoir ce que les formes de vie pourraient être dans des conditions différentes, autres que notre propre environnement.

Pourtant, ce que les scientifiques peuvent évaluer est très peu comparé aux créations artistiques phénoménales de toutes sortes de formes de vie.

Ce qui semble intéressant, est que tout ce qui a été/est imaginé, aussi étranges ou surprenantes soient-elles, ces formes créées par l’homme, appartiennent à la terre….

Une sculpture ne peut pas parler de l’avenir, mais elle pourrait bien être là demain….

Science Fiction © Addé 2019 – photos Xea B.

A sculpture cannot tell of the future, yet might still be there tomorrow…

Chernobyl – Sculpture by Addé 2019

The 26th of April 1986, after a fire and explosion destroyed the Chernobyl Nuclear Power Plant, more than 100,000 people were permanently evacuated.

The disaster was fought by a few dozens of heroic volunteers whose sacrifice drastically limited the consequences of the catastrophe.

Since then, a large exclusion zone has been defined, where no humans may live, for a duration estimated to 20 000 years.

Then nature took over.

Many species have settled there, brown bears, wolves, lynx, bison, deer, moose, beavers, foxes, badgers, wild boar, raccoon, dogs, and more than 200 species of birds, have formed their own ecosystem.

The moral of the story is that, without humans, nature thrives, blooms, prospers, develops…

Chernobyl – Sculpture par Addé 2019

Le 26 avril 1986, après qu’un incendie et une explosion aient détruit la centrale nucléaire de Tchernobyl, plus de 100 000 personnes furent évacuées définitivement.

Le désastre a été combattu par quelques dizaines de volontaires héroïques dont le sacrifice a considérablement limité les conséquences de cette catastrophe.

Depuis lors, une grande zone d’exclusion a été définie, où aucun être humain ne peut vivre, pour une durée estimée à 20 000 ans.

Et la nature a repris ses droits.

De nombreuses espèces s’y sont installées : ours bruns, loups, lynx, bisons, cerfs, orignaux, castors, renards, blaireaux, sangliers, ratons laveurs, chiens, et plus de 200 espèces d’oiseaux, ont formé leur propre écosystème.

La morale de l’histoire est que, sans les humains, la nature prospère, fleurit, s’épanouit, se développe….

Une sculpture pour, à la fois, rappeler un désastre douloureux, et célébrer la force toute puissante de la nature.

Chernobyl © Addé 2019 – photos Xea B.

A sculpture to, both, recall a nasty disaster, and grant the overcoming power of nature.

Nel blu dipinto di blu – Sculpture by Addé 2019

Nel blu dipinto di blu « in blue painted in blue », could be a tribute to Yves Klein or Kasimir Malevitch, yet it is just the long time forgotten title of a song.
But if you see « Volare » then you’ll know, you’ll remember the song…

In 1958, Domenico Modugno sang this outstanding number which, then, went around the world, and still is in most people’s memory.

Over its international success, it was opening a door to Italian cansone, giving access to amazing singers such as Adriano Celentano, Paolo Conte, Eros Ramazotti, among so many talents.

Furthermore, it drew Italian culture out of poor clichés, such as mobsters, meat balls, and pizze, giving access to a beautiful, expressive, and poetic language.

Many has sung it, as surprising as David Bowie, Chet Atkins, Ella Fitzgerald, and many more, including… Frank Zappa !

Nel blu dipinto di blu – Sculpture par Addé 2019

Nel blu dipinto di blu ” dans le bleu peint en bleu “, pourrait être un hommage à Yves Klein ou Kasimir Malevitch, mais ce n’est que le titre oublié depuis longtemps d’une chanson.
Cependant si vous voyez ” Volare ” alors vous saurez, vous vous souviendrez de cette chanson…

En 1958, Domenico Modugno a chanté ce titre exceptionnel qui, à l’époque, a fait le tour du monde, et qui est encore dans la mémoire de la plupart des gens.

Au-delà de son succès international, il ouvrait la porte à la cansone italienne, donnant accès à des chanteurs étonnants comme Adriano Celentano, Paolo Conte, Eros Ramazotti, parmi tant de talents.

De plus, il a sorti la culture italienne des clichés pauvres, tels que les mafieux, les boulettes de viande et les pizze, donnant accès à un langue belle, expressive et poétique.

Beaucoup l’ont chanté, aussi surprenant que David Bowie, Chet Atkins, Ella Fitzgerald, et bien d’autres, dont…. Frank Zappa !

Volare, voler, comment la matière solide peut exprimer la force impalpable de l’air.

Nel blu dipinto di blu © Addé 2019 – photos Xea B.

Volare, to fly, how solid matter can express the impalpable force of air.

Eigengrau- Sculpture by Addé 2019

Eigengrau is a German term meaning intrinsic grey, describing a visual phenomenon of perceiving, in complete darkness, a nuance of dark gray.

Camera obscura, the dark room, known since the ancient times, was rediscovered during the Renaissance as a curiosity, when a pin hole would project a large image of the surroundings, although upside down.

This led to the discovery of photography.

Speculatively, it is possible that during the « cave age » the experience of such a visual perception in total darkness, together with the help of hallucinogenic substances, became the substratum for paintings.

Rock art was just missing the rolling part yet.

Perceptual disturbances of all sorts, are part of human history, and, in all probability, a factor of evolution.

Eigengrau- Sculpture par Addé 2019

Eigengrau est un terme allemand qui signifie gris intrinsèque, décrivant un phénomène visuel de perception, dans l’obscurité totale, d’une nuance de gris foncé.

Camera obscura, la chambre noire, connue depuis l’antiquité, a été redécouverte à la Renaissance comme une curiosité, quand un trou d’épingle projetait une grande image de l’environnement, mais à l’envers. Ce qui conduisit à la découverte de la photographie.

Hypothétiquement, il est possible qu’à ” l’âge des cavernes “, l’expérience d’une telle perception visuelle dans l’obscurité totale, avec l’aide de substances hallucinogènes, soit devenue le substrat des peintures.

Au rock painting, manquait encore le roll.

Les troubles de la perception de toutes sortes font partie de l’histoire humaine et, selon toute probabilité, sont un facteur d’évolution.

Cette sculpture, vue dans l’obscurité, ou ici photographiée sur un fond noir, ne prend pas seulement en compte l’ Eigengrau, mais sa forme exprime ce que peut être la perception d’un volume en noir absolu.

Eigengrau © Addé 2019 – photos Xea B.

This sculpture, when seen in darkness, or, here photographed on a black background, not only takes Eigengrau in account, but its form expresses what can be perception in complete blackness.

Erosion- Sculpture by Addé 2019

Natural erosion is the strongest effect of time beyond our perception.

Erosion acts at different rates and can, over several tens of millions of years, crush mountains, dig valleys, push back cliffs.

Human presence is also a factor in the degradation of landforms, particularly through deforestation, invasive agriculture, mining activities and urbanization, which are of concern.

But there are also forms without serious consequences that bear witness to time: wear and tear on floors and stairs, abrasion of monuments and statues, show the passage of many successive generations.

For us, the measure of time is calibrated by our life span, more or less a hundred years.

What happened before belongs to history, which is measured in, at most, a few thousand years.

What was before history is bulked in prehistory and palaeontology for which we enter dimensions beyond understanding.

What we know today about life on earth before humanity sends us back to times when the dinosaurs ruled.

Not only them, since our direct ancestors, the mammals, although appearing quite lately, ran alongside the great lizards.

Hence the myth of the dragons, as consciously, without remembrance of the dinosaurs, the found remains had to be explained, but not only.

It seems that a part of our micey ancestors have transmitted images of their strongest fears, allowing humans to credit the found remains for quite peculiar abilities, such as spitting flames, being covered in scales, et c.

Texte en français:

Erosion- Sculpture by Addé 2019

L’érosion naturelle est l’effet le plus fort du temps au-delà de notre perception.

L’érosion agit à différents rythmes et peut, sur plusieurs dizaines de millions d’années, écraser des montagnes, creuser des vallées, repousser des falaises.

La présence humaine est également un facteur de dégradation des formes de relief, notamment par la déforestation, l’agriculture envahissante, les activités minières et l’urbanisation, qui sont préoccupantes.

Mais il y a aussi des formes sans conséquences graves qui témoignent du temps : l’usure des sols et des escaliers, l’abrasion des monuments et des statues, témoignent du passage de nombreuses générations successives.

Pour nous, la mesure du temps est calibrée par notre durée de vie, plus ou moins centenaire.

Ce qui s’est passé avant appartient à l’histoire, qui se mesure, tout au plus, en quelques milliers d’années.

Ce qui était avant l’histoire l’est encore plus dans la préhistoire et la paléontologie pour lesquelles nous entrons dans des dimensions incompréhensibles.

Ce que nous savons aujourd’hui de la vie sur terre avant l’humanité nous renvoie aux temps où les dinosaures régnaient.

Non seulement eux, puisque nos ancêtres directs, les mammifères, bien qu’apparus assez récemment, ont couru aux côtés des grands lézards.

D’où le mythe des dragons, comme consciemment, sans souvenir des dinosaures, les restes trouvés devaient être expliqués, mais pas seulement.

Il semble qu’une partie de nos ancêtres souriquets ont transmis des images de leurs peurs les plus fortes, permettant aux humains de créditer les restes trouvés de capacités tout à fait particulières, telles que cracher des flammes, être couvert d’écailles, etc.

Cette fois, l’érosion n’est ni d’origine naturelle, ni un dommage, bien que d’origine humaine.

erosion © Addé 2019 – photos Xea B.

This time, erosion is neither of natural cause, nor a damage, although man-made.

Ritual – Sculpture by Addé 2019

Although belonging to the same Latin root (ritus) there is/ was, a distinction between rites and rituals, when rites apply to beliefs/ religion, and rituals to social behaviour.

Today both terms are used in all human sciences, but also in zoology, since our animal cousins share with us social rituals.

For quite some time now, the origins of rituals have been studied by many disciplines , as well as their importance and consequences, in infinite variations proper to each culture.

The function of rituals is collective and societal, keeping cohesion in a group. They are not limited to a natural environment, but when being rites, involve a form of magic/ religious relations with the supranatural.

Rituel – sculpture par Addé

Bien qu’appartenant à la même racine latine (ritus), il y a/avait une distinction entre les rites et les rituels, lorsque les rites s’appliquent aux croyances/ religions, et les rituels au comportement social.

Aujourd’hui, les deux termes sont utilisés dans toutes les sciences humaines, mais aussi en zoologie, puisque nos cousins animaux partagent avec nous des rituels sociaux.

Depuis un certain temps déjà, les origines des rituels sont étudiées par de nombreuses disciplines, ainsi que leur importance et leurs conséquences, dans des variations infinies propres à chaque culture.

La fonction des rituels est collective et sociétale, maintenant la cohésion dans un groupe. Ils ne se limitent pas à un environnement naturel, mais lorsqu’ils sont rites, impliquent une forme de relations magiques/religieuses avec le supranaturel.

Les sculptures, du moins certaines d’entre elles, sont les jalons, le rappel du rituel.

Ritual – Sculpture by Addé – photos Xea B.

Sculptures, at least some of them, are the milestones, the reminders of rituality.

Luca – Sculpture by Addé 2019

Luca is an acronym for Last Universal Common Ancestor which is dated around 3 billion years.

Life as we know it, at least what is still present today, seems to have started recently, around 570 million years.

The origins of life are still being debated, one of the theories being the primitive soup (no croutons) another one being panspermia which says life would come from elsewhere.

Life itself is phenomenal. Any live form, no matter how simple or complex, has a starting point, a germination, from which it will grow, develop, raise, transform, blithely reproduce, then die.

This astonishing faculty of growing from one state to another is fascinating and, at least, deserves respect.

There are two causes for mass extinction, natural factor, or humankind.

Seemingly, more energy and money is spent on studying a hypothetical natural factor, than in preserving, protecting, all in all, respecting life and nature.

Growth of any form of life might be regarded as banal, it is, in fact fascinating.

Luca – Sculpture by Addé 2019

Luca est l’acronyme de Last Universal Common Ancestor qui date d’environ 3 milliards d’années.

La vie telle que nous la connaissons, du moins ce qui en est encore présent aujourd’hui, semble avoir commencé récemment, vers 570 millions d’années.

Les origines de la vie sont encore débattues, l’une des théories étant la soupe primitive (sans croûtons) et l’autre la panspermie qui dit que la vie viendrait d’ailleurs.

La vie elle-même est phénoménale. Toute forme vivante, aussi simple ou complexe soit-elle, a un point de départ, une germination, d’où elle va grandir, se développer, s’élever, se transformer, se reproduire joyeusement, puis mourir.

Cette faculté étonnante de passer d’un état à l’autre est fascinante et, au moins, mérite le respect.

Il y a deux causes à l’extinction massive, le facteur naturel ou l’humanité.

Apparemment, on dépense plus d’énergie et d’argent à étudier un facteur naturel hypothétique qu’à préserver, protéger, dans l’ensemble, la vie et la nature.

La croissance de toute forme de vie peut être perçue comme banale, est, en fait, fascinante.

Luca © Addé 2019 – photos Xea B.

Growth of any form of life might be regarded as banal, it is, in fact fascinating.

The Red Tooth – Sculpture by Addé 2019

The Red Tooth

Once upon a time, was the king of the leprechaun.

He was known as the Mighty dragonfly Slayer, Commander of the Sun and Moon, Conqueror of the Impassable, and many other names, but he went by Tim.

Despite his full life and a happy kingdom, something would trouble him to the obsession.

He was consumed with envy because, his cousin as he would call him, king Harald Gormsson was surnamed « Bluetooth » and that was the most extraordinary nick name he could imagine.

So, one night, he summoned the denture fairy (he was very old) and ordered her to « do something about it » but in much coarser words.

The fairy, although short tempered and stout, obliged, and said : « from now on, thou shalt be known as Redtooth ».

The king was not very pleased with red, when his favourite colour was purple, yet flattered, admitting that red tooth was giving to his smile a real chic.

Soon, all his subjects, even those living afar, came to see the king’s tooth, complimenting his majesty, who could not help but smile.

Then life went on, with the king smiling (and showing of a bit) to all his visitors, until he passed away, beaming.

The whole kingdom went on mourning the good king, but it was decided, for the sake and education of the coming generations, to erect a wee monument bearing the tooth…

La Dent Rouge – Sculpture by Addé 2019

La Dent Rouge

Il était une fois le roi des lutins.

Il était connu sous le nom de Pourfendeur de libellules, Commandeur du Soleil et de la Lune, Conquérant de l’Impassable, et bien d’autres noms, mais on l’appelait Tim.

Malgré sa vie bien remplie et un royaume heureux, quelque chose le troublait jusqu’à l’obsession.

Il était en proie à l’envie car, son cousin comme il l’appelait, le roi Harald Gormsson était surnommé ” Bluetooth ” et c’était le surnom le plus extraordinaire qu’il pouvait imaginer.

Ainsi, une nuit, il convoqua la fée des dentiers (il était très vieux) et lui ordonna de ” faire quelque chose “, mais avec des mots beaucoup plus grossiers.

La fée, en dépit de son mauvais caractère et de sa grossièreté, s’exécuta et dit : ” à partir de maintenant, tu seras connu sous le nom de Dentrouge “.

Le roi n’était pas très content du rouge, quand sa couleur préférée était le violet, mais flatté, admit que la dent rouge donnait à son sourire un vrai chic.

Bientôt, tous ses sujets, même ceux qui vivaient au loin, vinrent voir la dent du roi, complimentant sa majesté, qui ne pouvait s’empêcher de sourire.

Puis la vie continua, avec le roi souriant (et paradant un peu) à tous ses visiteurs, jusqu’à ce qu’il s’éteigne, rayonnant.

Tout le royaume pleura le bon roi, mais il fut décidé, pour le bien et l’éducation des générations futures, d’ériger un petit monument portant la dent…

Un cénotaphe pour un roi farfadet, une sculpture in memento.

The red tooth © Addé 2019 – photos Xea B.

A cenotaph to a Leprechaun king, a sculpture as a in memento.

Microscopy – Sculpture by Addé 2019

Microscopy has given us access to the invisible.

At the beginning of the XVIth century, rudimentary optical microscopes were invented simultaneously by several people, when the identity of the very first inventor remains controversial.

Since then, the infinitesimal world has been explored further on, while the infinitely great is too, widening phenomenally, not only our knowledge, but our perception of life.

In the XVIIth century, were given by Blaise Pascal, mathematician and philosopher, the limits of visual perception when he wrote about the ciron (cheese mite) as the smallest living organism to be observed with an analogy to human kind in the infinity of the universe : « What is a man in infinity? (…) That a ciron, for example, offers him in the smallness of his body incomparably smaller parts, legs with joints, veins in these legs, blood in these veins, humours in this blood, drops in these humours, vapours in these drops. »

Relying on apraxia, superstition, and/ or belief the invisible would remain so.

Fortunately, a special sort of people cannot accept ignorance as a fate, and explores terra incognita, unknown grounds.

Microscopy – Sculpture by Addé 2019

La microscopie nous a donné accès à l’invisible.

Au début du XVIe siècle, des microscopes optiques rudimentaires ont été inventés simultanément par plusieurs personnes, alors que l’identité du tout premier inventeur reste controversée.

Depuis lors, le monde infinitésimal a été exploré plus avant, tandis que celui de l’infiniment grand, élargit de manière phénoménale, non seulement nos connaissances, mais notre perception de la vie.

Au XVIIe siècle, ont été donné par Blaise Pascal, mathématicien et philosophe, les limites de la perception visuelle, quand il écrit sur le ciron (acarien du fromage) comme le plus petit organisme vivant à observer avec une analogie à l’espèce humaine dans l’infini de l’univers : “Qu’est-ce qu’un homme dans l’infini ? (…) Qu’un ciron, par exemple, lui offre dans la petitesse de son corps des parties incomparablement plus petites, des jambes avec des jointures, des veines dans ces jambes, du sang dans ces veines, des humeurs dans ce sang, des gouttes dans ces humeurs, des vapeurs dans ces gouttes. »

S’appuyer sur l’apraxie, la superstition, et/ou la croyance, l’invisible le resterait.
Heureusement, une sorte particulière d’individus ne pouvant accepter l’ignorance comme fatale, explore la terra incognita, les terres inconnues.

Si le nécessité est mère de l’invention, la curiosité doit être sa sœur jumelle.

Microscopy © Addé 2019 – photos Xea B.

If necessity is the mother of invention, curiosity must be her twin sister.

To Mars – Sculpture by Addé 2019

A few humans are expected to step a foot on Mars anytime soon.

Until then, it only took 66 years between the first successful powered flight of the Wright Flyer in 1903 and the moon landing.

On July 20, 1969, Neil Armstrong and Buzz Aldrin, landed on the moon, first and glorious step for humankind, on solid ground in space.

Already 50 years have past, but the 4th rock from the sun is about to be stepped on (wipe your feet).

The moon is at one second from earth at light speed.
Mars is at 258 seconds (4 minutes 30s.)

Vers Mars – Sculpture by Addé 2019

Bientôt quelques humains marcheront sur Mars.

Auparavant, il ne s’était écoulé que 66 ans entre le premier vol motorisé réussi du Wright Flyer en 1903 et l’alunissage.

Le 20 juillet 1969, Neil Armstrong et Buzz Aldrin, ont atterri la lune, premier et glorieux pas de l’humanité sur un sol dans l’espace.

Déjà 50 ans ont passé, mais la 4ème pierre depuis soleil est sur le point d’être abordée (essuyez vos pieds).

La lune est à une seconde de la terre à la vitesse de la lumière.
Mars est à 258 secondes (4 minutes 30 secondes.)

Cette sculpture est conçue pour célébrer le premier atterrissage sur Mars.
A l’origine d’une hauteur de plus d’un mètre, il devrait être agrandi pour devenir un monument.

To Mars © Addé 2019 – photos Xea B.

This sculpture is conceived to celebrate the first Mars landing. Originally over one metre high, it should be enlarged to become a monument.

Rainbirds – Sculpture by Addé 2019

Rainbirds

In some parts of the earth, rain is feared, while elsewhere it is a blessing.

When the water is scarce, life relies on rain.

Plants, animals, humans, are all reliant on rain which is eagerly expected.

In those regions, certain birds have been known to announce the coming rain, and are carefully observed, celebrated, and even became mythical for their predictions.

In North America, Native Americans worshipped the Rain Bird, in China, the Shangyang became mythical since the Qi dynasty.

In Africa, many ethnic groups have adopted the rain birds which are represented on masks, sculptures, and costumes, in rituals.

Oiseaux de pluie – Texte en français

Dans certaines parties de la terre, on craint la pluie, alors qu’ailleurs, c’est une bénédiction.

Quand l’eau est rare, la vie dépend de la pluie.

Les plantes, les animaux, les humains dépendent tous de la pluie qui est attendue avec impatience.

Dans ces régions, certains oiseaux sont connus pour annoncer la pluie à venir et sont observés, célébrés et même devenus mythiques pour leurs prédictions.

En Amérique du Nord, les Amérindiens adoraient le Rain Bird, en Chine, le Shangyang est devenu mythique depuis la dynastie Qi.

En Afrique, de nombreux groupes ethniques ont adopté les oiseaux de pluie qui sont représentés sur des masques, des sculptures et des costumes, dans des rituels.

Rainbirds © Addé 2019 – photos Xea B.

A sculpture to praise the rainbirds

Ex-voto – Sculpture by Addé 2019

Ex-voto

There were many attempts in drawing a line between animals and humans, such as laughter being specific to mankind (Rabelais) but, maybe the separation occurs with belief.

Belief in some supra human entity which could help in desperate situations.

Ex-votis, would then be a way to witness having been granted.

There were various forms of vowing, the most common being ex-voto suscepto, in situations of peril.

However, human nature being what it is, the vow is conditional, in fact a deal between the godly entity, and the victim in the form of « IF » (I don’t die) I will reward you by expressing my thankfulness and belief in your power.

Then comes the cheat, so well admitted that since the ancient times, it has been accepted as sincere.

As an illustration, there is this story of the two fishermen lost at sea, vowing, if saved, to sacrificially climb up the thousand steps to the Good Mother’s cathedral with chick peas in their shoes.
When climbing, one is perfectly comfortable while his partner is in strong pain.
So he asks why his pal is not suffering, and the answer comes : « the chick peas, I cooked them !»

Ex-voto – texte en français

Il y a eu de nombreuses tentatives pour tracer une ligne entre les animaux et les humains, comme le rire spécifique à l’humanité (Rabelais), mais la séparation se fait peut-être par la croyance.

Croire en une entité supra-humaine qui pourrait aider dans des situations désespérées.

Les ex-votis, seraient alors un moyen de témoigner avoir été exaucé.

Il y avait diverses formes de vœux, la plus courante étant l’ex-voto suscepto, prononcé dans des situations périlleuses.

Cependant, la nature humaine étant ce qu’elle est, le vœu est conditionnel, en fait un accord entre l’entité sacrée, et la victime sous forme de ” SI ” (je ne meurs pas) je vous récompenserai en vous exprimant ma gratitude et ma foi en votre pouvoir.

Puis vient la tricherie, si bien admise que depuis l’antiquité, elle a été acceptée comme sincère.

À titre d’illustration, il y a cette histoire des deux pêcheurs perdus en mer, qui promettent, s’ils sont sauvés, de grimper les mille marches de la cathédrale de la Bonne Mère avec des pois chiches dans leurs chaussures.
En montant les marches, l’un se sent parfaitement à l’aise alors son partenaire souffre fortement.
Quand il demande à son ami pourquoi il ne souffre pas, la réponse vient : ” les pois chiches, je les ai cuits !”

Une sculpture pour remercier les dieux

Ex-voto © Addé 2019 – photos Xea B.

A sculpture to thank the gods

Aeolus – Sculpture by Addé 2019

 
Aeolus

God and master of the winds, has given his name to, perhaps, the oldest form of energy mankind was able to use, together with fire.
Without the winds, no navigation, no exploration.
No windmills either.
Winds are a fundamental and major factor of development.
All over the world, winds, like familiars, are given names.
Today, winds might become an important way to produce clean energy.
And last but not least, the wind has been a strong source of inspiration to poets and song writers…

Aeolus © Addé 2019 – photos Xea B.

A sculpture to try and catch the wind

Exploding tooth paste – Sculpture by Addé 2019

 
Exploding tooth paste

Originally, this piece is dedicated to space, and its exploration, a major challenge for humanity.

Then, this happened :

50 years ago, « Easy Rider » road-film, brought, through a simple scenario, a new perception of what life could be out of the beaten path.

It was sustained, maybe driven, by quite a number of great musics among which Steppenwolf’s « Born to be wild ».

As a matter of fact, when the lyrics are « Fire all of your guns at once and explode into space » I couldn’t help but hear « exploding tooth paste » which, since then, has given a delightful twist to the song.
 

Exploding tooth paste © Addé 2019 – photos Xea B.

A sculpture about tooth paste ?

Non inultus premor – Sculpture by Addé 2019

 
Non inultus premor

Do not step on me is not a literal translation, yet it keeps the sense.

Although the nacre might look offensive, it shows the beauty of a broken helicoidal construction obeying to the golden proportions.

Non inultus premor © Addé 2019 – photos Xea B.

A sculpture to celebrate natural architecture.

Side Growth – Sculpture by Addé 2019

 
Side Growth

The chosen ones grow from the top, and are sustained, cherished, promoted.
Many are not.
They will hang on to a side position, and, nevertheless, will grow.

This piece is dedicated to all those who were born unfavoured, mis/disregarded.

Despite the absence of love and support, they will find a way, their way, and because of what they had to go through, their way will progress off the bitten path.

« White collar conservative flashin down the street, pointing that plastic finger at me, they all assume my kind will drop and die, but I’m gonna wave my freak flag high » Jimi Hendrix

Side Growth © Addé 2019 – photos Xea B.

A sculpture for all those shamefully set aside, humans and animals…

Irony – Sculpture by Addé 2019

 
A nymph, and one of the Driades, was known for her wittiness and acerbic sense of repartee.

Her sarcastic humour was much feared as she would devastate any spirit in a few sentences.

Therefore, her victims were said to have been left flat, « ironed » so much, most of them could not surmount the pain and would hang themselves discreetly in a wardrobe.

In ancient Greece, old people would behave with pretension and arrogance, and it was said that the wrinkled should be corrected and thus, deserved to meet Irony.

The wrinkled needed ironing.

Irony © Addé 2019 – photos © Xea B.

A sculpture of a never heard of character deserves Mythology.

The conception of Aphrodite – Sculpture by Addé 2019

 
The conception of Aphrodite

Aphrodite is an ancient Greek goddess associated with beauty, pleasure, love, and procreation.
The Romans syncretized her as Venus.
She was conceived off the coast of Cythera from the foam, the semen (aphros) produced by Uranus.
Although the term has become colloquial and pejorative, she is said to be born, literally, from the scum of the sea.
A great sadness when such a beautiful and poetic image of a magnificent myth, has turned into a miserable insult.

Nevertheless, do not forget Venus is looking kindly upon us, earthlings.

The conception of Aphrodite © Addé 2019 – photos Xea B.

A sculpture celebrating the guardian of love and beauty

Echo – Sculpture by Addé 2019

 
Echo

Echo was a beautiful nymph and Artemis’ favourite.

She was eloquent, excelling at disserting, and would always have the last word.

Zeus then asked her to distract his wife Juno, looking for him, while he was frolicking with the nymphs, contrived to detain the goddess till the joyful group scampered away.

When Juno discovered it, she passed sentence upon Echo to « still have the last word, but no power to speak first ».

She was condemned to only repeat the last word she would hear.

When she fell in love with Narcissus, as he was calling for her, all she could say was the last word he said.

Since then, hikers will hear Echo responding to their call…

Please read more about Echo’s story and Narcissus at “La Audacia de Aquiles” Greek Mythology: “Narcissus and Echo” (Interpretation and Psychoanalytical Corollaries) by Amalia Pedemonte.

Echo © Addé 2019 – photos Xea B.

A sculpture to celebrate a beautiful yet unfortunate nymph, nymph, nymph…

Andromeda – Sculpture by Addé 2019

 
Andromeda

Today her name remains as a spiral galaxy containing approximately one trillion stars, 2.5 million light-years (780 kiloparsecs) from Earth, and the nearest major galaxy to our Milky Way, but there are many a reason to celebrate her.

First, her name, when the world seems to discover (about time) how poorly women are regarded and treated : Andromeda means, in ancient Greek « ruler of men » (andrós “man”, medon,”ruler”).

We would love to see such a great name back and praised in what could become The Triumph of Venus.

Last but not least, Andromeda was the daughter of the king and queen of Aethiopia (Cepheus and Cassiopeia).
Aethiopia roughly translates to “country of brown faces”, so it is probable that Andromeda was black.

In 1992 Professor Elizabeth McGrath initiated this idea in her article The Black Andromeda based on Ovid’s writings.

Mythologies are the substrata of cultures, knowing them is fundamental.

Please check out Aquileana’s page on Greek Mythology: “Andromeda and Perseus” / Poetry: “On The Sonnet”, by John Keats, as well as her treasure works on Mythology.

Andromeda © Addé 2019 – photos Xea B.

This sculpture is dedicated to womanhood.

When dragons ruled – Sculpture by Addé 2019

 
When dragons ruled

Dragons is the way we remember the times when dinosaurs ruled the world.
Sixty five million years ago, on Wednesday , they disappeared , together with the ammonites.
Little did they know, one day, those wee, negligible, furry, burrowing, viviparous, breast milk feeding, mammals, will take over to eventually lead to the human form which proudly became the most efficient planet wrecking, self destroying species ever.

Ammonites lived in the seas between 240-65 million years ago, when they became extinct along with the dinosaurs.

When dragons ruled © Addé 2019 – photos Xea B.

Patrick, is that you ?

Towards Infinity – Sculpture by Addé 2019

 
Towards Infinity

Humanity did neither invented time, nor the perception of time, but its measurement.
Therefore, the concept of infinity was, at first, philosophical, until mathematics took over.
Still, there is a link between mathematics and philosophy, and Hermann Weyl, mathematician, theoretical physicist and philosopher has defined mathematics as the science of the infinite.
A more recently approach is imaginary time by Stephen Hawking which connects quantum field theory with statistical mechanics.
There is a persistent confusion between infinity and eternity, the later belonging to religious beliefs.
Each is represented by a sign: While eternity is Uroboros, a plain circle, infinity is the Lemniscate (∞) which is also a 2D representation of the Möbius strip.

So, maybe, infinity could be defined as « eternity with a twist ».

Towards Infinity © Addé 2019 – photos Xea B.

A sculpture pointing to infinity can be positioned errorlessly in any direction.

Reliquary II – Sculpture by Addé 2017-2019

 
Reliquary II

The term is, at least in countries of Christian culture, associated with religion, holy remains of saints, and such.

But reliquaries exist in many forms, according to each culture and/ or customs.

A great-uncle of mine was wounded by a stone which fell from a very old ceiling. Decades later, he would show the said stone to his visitors, wrapped in newspaper. It was a relic.

A senseless object for all but himself, to which he was attached for not killing him.

Reliquary II © Addé 2017-2019 – photos Xea B.

Faith, remembrance, magic, are the basic components of a relic. Yet a sculpture itself, through time, might become a relic.

Little red rooster – Sculpture by Addé 2018

Little red rooster

Is the Universe chaotic? Well, it might be, or not…

What we know is that humanity behaves as a sort of cockerel , somehow chaotic, certainly unpredictable.

We are the red roosters of the solar system, and, perhaps, beyond.

Clearly, what most of us know about the Universe, is measurelessly far from the physicists’ knowledge and praised be those of them who give their time and patience to give us, roosters, access.

« I am the little red rooster
Too lazy to crow for day
I am the little red rooster
Too lazy to crow for day »

Little red rooster © Addé 2018 – photos Xea B.

  
Howlin’ Wolf – Little Red Rooster ( Chess )

  

This sculpture has more effect on the Universe than astrology has ever had on anybody.

De rerum natura – Sculpture by Addé 2018

 
De rerum natura

With evolution, each species has found ways to survive.

Of all Nature’s necessities, safety is fundamental. When many species have developed some sort of shell, carapace, or armour, the nude ones had, and still have, to find and/ or build, a shelter.

Becoming sedentary, human kind started to build the very first dry stone constructions which may be regarded as the first architectures, and since then, all constructions were built, as building was the only known way.

We are now at the very beginning of a new era with printed architectures which will bring new concepts for which Nature is showing us the way together with the way the tiniest animals elaborate their shells under the golden ratio.

Morphogenesis has just started!

De rerum natura © Addé 2018 – photos Xea B.

Sculptures by Nature are the fruits of necessity and time. In other words, Evolution.

Suspension of disbelief – Sculpture by Addé 2018

 
Suspension of disbelief

On extremely rare occasion, on very remote land, a wanderer might step on the remains of a fairies’ party.
Although no one as ever seen the fairies themselves, it is scientifically proven they are having feasts of which the reliefs can be found, as they do not care much about the cleaning.
As described by Coleridge, at that instant, all certitudes, all rational thoughts will be caught in a momentum of wonder, a suspension of disbelief.

Suspension of disbelief © Addé 2018 – photos Xea B.

A sculpture to infuse a “human interest and a semblance of truth” into a fantastic tale.

Counterchange II – Sculpture by Addé 2018

 
Counterchange II

As counterchange does not sound explicit, the term has an interesting definition of a pattern composed of dark on light colours, alternating with light on dark.

An interesting exercice de style.

It may as well be a conjugation of bright colours in a both disruptive and distractive camouflage relying on conspicuous markings.

The well-known fire salamander (Salamandra salamandra) sports bright yellow spots, patching on black, warning of its toxicity.

Those markings are of great effectiveness when displayed on a contrasted surface, yet would differ in their mechanisms when placed on a similar one, or a counterchange substratum.

Counterchange II © Addé 2018 – photos Xea B.

Bright/ luminous colours in nature are advertising of danger, yet, counterchange in a sculpture acts as both a harmony and an opposition.

Counterchange – Sculpture by Addé 2018

 
Counterchange

Counterchange’s definition is a patterning in which a dark motif on a light ground alternates with the same motif light on a dark ground.

Although a heraldic term, as a form of disruptive pattern, it belongs to the camouflage domain.

While recently applied to and by the military, camouflage in all its acceptions, is as old as life itself and is part of the crypsis field defining all the possibilities and mods to avoid being detected.

Crypsis can involve visual, olfactory, or auditory concealment.

In nature, many species have developed all sorts of ways to remain invisible, or the opposite anticamouflage, as a warning of their real or supposed dangerousity.

Counterchange © Addé 2018 – photos Xea B.

Being altogether counterchanging and disruptive, this piece’s elements are strictly based on the same palette.

Do slugs dream? – Sculpture by Addé 2018

 
Do slugs dream ?

A long time ago, even before time existed, in a remote galaxy eventually turned to vacuum, a brilliant civilisation had reached what could be regarded as perfection.

Having resolved all individual and collective problems, in a struggle free society, they were cultivating beauty, and beauty only.

But their world was collapsing, and they had to find another planet compatible with their way of living.

Alas, they could not find any, as all the places they searched were ravaged by all sorts of incompatible forms and behaviours.

Eventually, they found Earth which was not better than their previous results.
Yet they found out that they could live there spared of all threats.

They would not have any predators, they were too discreet to attract any attention of any kind and the salt water was a perfect biotop.

So, they settled here in the seas and oceans, cultivating beauty, brilliant colours and delightful patterns and shapes, all together in perfect quietude, dreaming.

Those, my friends, are the sea slugs. Extraterrestrial indeed, but who would care to even notice them ?

Well, someone has : Early XXth century, Kumataro Ito, a talented Japanese illustrator did! He skilfully observed and painted those wonderful creatures.

Look for his delicate paintings which can be seen at the National Museum of Natural History, in Washington D.C. as well as in a recent article of The Public Domain Review (https://publicdomainreview.org/collections/kumataro-itos-illustrations-of-nudibranchs/) we highly recommand for all their amazing publications.
 

Do slugs dream ? © Addé 2018 – photos Xea B.

A sculpture as a simple tribute to life.

Scala naturae II – Sculpture by Addé 2018

 
Scala naturae II

Around the mid XIXth century, scientists believed in spontaneous generation and it was the official theory, until Louis Pasteur fought it and proved the existence of bacteria.

At that time, it was scientifically admitted that mice were born from dirty rags…

Enlightened minds, precursors, forward-thinkers, are and have been bringing their stone to the edifice, since, maybe, the first one, who actually thought of using one.

Photography, sound recording, cinema and videography have made us familiar to many forms of wild life, whether terrestrial, aerial, or subaquatic.

Yet many more to come, to be discovered, most of them so peculiar, they are called « alien » but they all belong here and help us understand life bears such a diversity, there will be more astonishments.

Already Astrobiology/ Exobiology is speculating and studying what life could be elsewhere, while wild life on earth is drastically reducing thanks to suicidal overpopulation and environmental destruction.
 

Scala naturae II © Addé 2018 – photos Xea B.

A sculpture as a simple tribute to life.

Scala naturae I – Sculpture by Addé 2018

 
Scala naturae I
The “Ladder of Being” which started with the Greek philosophers, such as Plato or Aristotle among many other contributors, is the prologue to natural History.
Scaling life from top to bottom is a hard task, especially since it had to start with divinity (a priority during many centuries) and end up with the wee tiniest form of life that could be observed.
When it became science, it split in as many disciplines as needed and is still gradually expanding.
As we are far from complete knowledge, the more is discovered, the more we see that reality is stranger than fiction.
Yet, fiction is a source of fantasy, especially when it comes to extraterrestrial forms of life, but no matter what is created, it is by human brains, therefore bear humanly conceived forms.

What we know about Aliens:
They have the formidable power of blurring any image taken of them.
They are heavy pranksters capable of crossing galaxies to make human puzzling crop circles.
They regard physicists as stand-up comedians.
 

Scala naturae I © Addé 2018 – photos Xea B.

Just an evocation of a life form…

Mermaid bread (le pain des six reines) – Sculpture by Addé 2018

 
Mermaid bread (le pain des six reines)

Since mermaids have fled humans, they retired in their six kingdoms in the deepest of the seas and oceans.

Their last statement, given in a flow of bubbles, explained they strongly fear ending up in what they called « water circuses » where they would be forced to perform, together with dolphins and other prisoners, for over-fed silly audiences who do not give a damn about animal welfare as long as they are entertained.

Moreover, they thought they might be forced to rap instead of singing their melodious chants.

Well, anyway, mermaids are vegetarian as they would not dare offending Poseidon by eating his subjects.
So they eat mainly bread, a very rare trove which happens to turn blue when taken out of the water.

Mermaid bread (le pain des six reines) © Addé 2018 – photos Xea B.

The Jimi Hendrix Experience – 1983 (A Merman I Should Turn To Be)

I can hear Atlantis full of cheer

Petrichor – Sculpture by Addé 2018

 
Petrichor

Humans have invented many forms of sensorial stimulation, some quite elementary, others far more sophisticated.

Following the example of Wilbur Scoville who invented a scale for the measurement of pungency, we can imagine creating scales for each sensorial stimulus, yet there would be no evaluation of what a stimulus, beyond sensation, is bringing in terms of emotion.

Among those, nature is giving us strong feelings such as the hushed silence of the snow, the pink frequencies of the sea waves, and this peculiar ethereal scent, almost a perfume, of the ground after the rain.

The term was coined by two researchers, Isabel Joy Bear and Richard G. Thomas in 1964 : Petricor.

Petrichor © Addé 2018 – photos Xea B.

Can a sculpture evoke a scent ?

Votive offering III – Sculpture by Addé 2018

Votive offering III

This vasque is offered empty with a purpose.
The previous ones (votive offering I and votive offering II) contain objects, as symbols of offerings.
This one, (votive offering III) is intended to receive its owner’s own objects.

They might be simple baubles, trinkets, or golden treasures, all will be memories, souvenirs of cherished moments, wee traces of the past, ashes of forgotten times, winks of life.

All there to remind their possessor that life gives, and has given, despite the hard times and sorrow, sweet moments, smiles and laughters, and, nevertheless, faith in humanity.

…………………………………………

Cette vasque est offerte vide à dessein.

Les précédentes (votive offering I et votive offering II) contiennent des objets, comme symboles d’offrandes.
Celle-ci, (votive offering III) est destinée à recevoir les objets de son propriétaire.

Il peut s’agir de simples babioles, de bibelots ou de trésors en or, tous seront des souvenirs, des mémoires de moments chers, de petites traces du passé, des cendres de temps oubliés, des clins d’œil de la vie.

Tout cela pour rappeler à leur possesseur que la vie donne, et a donné, malgré les moments difficiles et la tristesse, de doux moments, des sourires et des rires, et, quoi qu’il en soit, foi en l’humanité.

Votive offering III © Addé 2018 – photos Xea B.

This sculpture is destined and designed as a reliquary.

Cette sculpture est conçue comme un reliquaire et destinée à le devenir.

African Homage – tribute – votive-offering

The Hag Stone – Sculpture by Addé 2018

The Hag Stone

Long before semiology was founded, the pursuit of sense, seeking a sense for signs, although empirical, has been a strong preoccupation for humanity.

In a scienceless world, any peculiar form, any strange occurrence, any trove, was regarded as holding some sort of omen, power, message.

They all were signs for which a sense, at least a meaning, had to be given, which became a lucrative occupation.

A long line of charlatans, mages, fortune-tellers of all sorts, paves the history of mankind, and is still continuing today with, massively, astrology (what’s your sign?), preachers, thaumaturges, et c.

When the said signs were identified explicitly, as they belonged to a pareidolic form, therefore analogically read, their understanding, their interpretation, was somehow possible.

Then, whatever could not be explained, remaining mysterious, must have had some sort of potent, some effect on something.

The hag stone is simply a hollowed piece of rock found as it, not an artefact, so there must have been a reason for its existence.

All around the world, hag stones have been given a teleological value, such as healing, protections of all sorts, or simply charms.

………………………………….

Bien avant la fondation de la sémiologie, la recherche du sens, la recherche de signes, bien qu’empirique, a été une forte préoccupation pour l’humanité.

Dans un monde dépourvu de science, toute forme particulière, tout événement étrange, toute découverte, était considéré comme porteur d’une sorte de présage, de pouvoir, de message.

Ils étaient tous des signes auxquels il fallait donner un sens, du moins une signification, ce qui devint une profession lucrative.

Une longue lignée de charlatans, de mages, de diseurs de bonne aventure en tout genre, a pavé l’histoire de l’humanité, et se poursuit encore aujourd’hui avec, massivement, l’astrologie (quel est votre signe ?), les prédicateurs, les thaumaturges, et c.

Lorsque lesdits signes ont été identifiés explicitement, comme appartenant à une forme paréidolique, donc lue de manière analogique, leur compréhension, leur interprétation, était en quelque sorte possible.

Ensuite, tout ce qui ne pouvait être expliqué, restant mystérieux, devait avoir une sorte d’effet puissant, un effet sur quelque chose.

La pierre de sorcière est simplement un morceau de roche percé et trouvé tel quel, pas un artefact, donc il devait y avoir une raison à son existence.

Partout dans le monde, les pierres de sorcière ont reçu une valeur téléologique, comme la guérison, les protections de toutes sortes, ou simplement des amulettes.

The hag stone © Addé 2018 – photos Xea B.

Did nature inspire the first sculptures?

La nature a-t-elle inspiré les premières sculptures ?

Extravaganza – Sculpture by Addé 2018

Extravaganza

The opposite to extrovert is introvert. Opposite, not contrary, as for many polar attitudes there is always the opposite.

Yet there is no opposite word for extravaganza; it could be intravaganza in an absurd world, or might be an innovating name for a psychiatric syndrome, but still, extravaganza has a strong and full acception of fun, extreme freedom of style and structure and usually elements of burlesque, parody, including dandyism.

With very ancient traditions, such as Lupercalia, or Saturnalia, the Feast of Fools, Holy Innocents’ Day, in fact any occasion to overturn, overthrow the established order, it might suit a circus parade, a carnival and, generally speaking, any form of extraordinary festivity.

In a world that has banned any fantasy in favour of correctness, where humour is regarded as offensive, where music has been replaced by machine sounds that would drive rats insane, or doggerel insulting the audience by people who cannot sing or play an instrument, let us rejoice, sing, and dance, have fun, and bring happiness back again!

…………………

L’opposé d’extraverti est introverti. Opposé, et non contraire, car pour de nombreuses attitudes polaires, il y a toujours l’opposé.

Pourtant, il n’y a pas de mot opposé pour extravaganza ; il pourrait s’agir d’intravaganza dans un monde absurde, ou pourrait être un nom innovant pour un syndrome psychiatrique, mais tout de même, l’extravaganza a une forte et pleine acception du plaisir, une extrême liberté de style et de structure et généralement des éléments de burlesque, de parodie, y compris de dandysme.

Elle peut convenir à une parade de cirque, à un carnaval et, d’une manière générale, à toute forme de fête extraordinaire.

Dans un monde qui a banni toute fantaisie au profit de la correction, où l’humour est considéré comme offensant, où la musique a été remplacée par des sons de machines qui rendraient fous les rats , ou par des personnes qui ne savent ni chanter ni jouer d’un instrument et insultent le public en vers de mirliton, réjouissons-nous, chantons et dansons, amusons-nous et retrouvons la joie de vivre !

Extravaganza © Addé 2018 – photos Xea B.

When a sculpture becomes a parade.

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Morphogenesis V – Sculpture by Addé 2018

When Wassily Kandinsky (1866-1944) wrote “sur la question de la forme” (on the matter of form) in 1912, he stated “there is no problem of form” based on the fundamental axiom according to which “the form is the external expression of the inner contents”.

A quite debatable statement though, yet dating from 1912!

Since then, a lot of water has flowed under the bridge, many artists have brought propositions, tearing down barriers, until the form disappeared in favour of the content itself.

Therefore, if the duality form/ contents was axiomatic, when the form is no more, has ceased to be, is expired and gone to meet its maker, then remains the sole content.

For example, aquariophilia is not about the aquaria themselves, but a metonymic designation of the contents, fish.

It is not the object containing, but the content which matters.

Metonymic indeed, when a Rodin, a Warhol, design a work by, not the artist himself.
Then, when the “accumulations” are presented, the form is gone not for the benefit of “what is inside” but the content itself which is named after what it is, not by the author’s name.

As a matter of fact, the matter of form has reached an end, has vanished, and, therefore, may start anew, from a theoretical point, with a drastic question: what is form?
……………………………….

Lorsque Wassily Kandinsky (1866-1944) a écrit “sur la question de la forme” en 1912, il a déclaré “qu’il n’y a pas de problème de forme” en se basant sur l’axiome fondamental selon lequel “la forme est l’expression externe du contenu interne”.

Une affirmation tout à fait discutable, mais qui date de 1912 !

Depuis lors, beaucoup d’eau a coulé sous les ponts, de nombreux artistes ont apporté des propositions, abattant les barrières, jusqu’à ce que la forme disparaisse au profit du contenu lui-même.

De fait, si la dualité forme/contenu était axiomatique, quand la forme n’est plus, a cessé d’être, est expirée et est allée à la rencontre de son créateur, alors reste le seul contenu.

Par exemple, l’aquariophilie ne concerne pas les aquaria eux-mêmes, mais une désignation métonymique du contenu, les poissons.

Ce n’est pas l’objet qui contient, mais le contenu qui compte.
Métonymique en effet, lorsqu’un Rodin, un Warhol, conçoit une “œuvre par” qui n’est pas de l’artiste lui-même.
Ensuite, lorsque les “accumulations” sont présentées, la forme disparaît au profit non pas de “ce qui est à l’intérieur” mais du contenu lui-même qui est nommé d’après ce qu’il est, et non pas d’après le nom de l’auteur.

En fait, la question de la forme a atteint une fin, a disparu et peut donc recommencer à nouveau, d’un point de vue théorique, avec une question radicale : qu’est-ce que la forme ?

Morphogenesis V © Addé 2018 – photos Xea B.

 
Architecture is a permanent dilemma between the form and the content, yet the most remarquable constructions might be regarded as sculptures, the content of which is somehow adapted to functions.

L’architecture est un dilemme permanent entre la forme et le contenu, mais les constructions les plus remarquables peuvent être considérées comme des sculptures, dont le contenu est en quelque sorte adapté aux fonctions.

Keren – Sculpture by Addé 2018

Keren, in Hebrew, originally means horn.

Perceived as animals’ weapons, the horns were a strong symbol of power and strength, attributed to warriors, heroes, and kings, and metaphorically as rays of light, ending with a mistranslation giving horns to Moses, a grotesque error.

Not only a symbol, the horn is presumably the most ancient sound instrument, together with the conch.
Later, much later, it was copied and adapted to the oliphant, an ivory horn made from ivory tusk.

Remarkably, the term is still in use for musical instruments, with «the Horns» naming both the brass family among which is the cornet (from latin cornua, «horn») and the woodwinds to which the saxophone family belongs (not to the brass) hence the reed.

Today, there are vestigial uses of horn, the most ancient one has now become a hand sign for rock’n roll, but originally meaning «cuckold» from the legend of the Minotaur.
Still in use in Italy, Spain, and Greece, as an insult (do not hand sign R’n R there).

We have kept the adjective «horny» meaning concupiscent, with a bundle of correlations, all in connection with the bull, its horns, and its sexual stamina.

Last but not least, the devil is not only horny, but carries the full list of sins. The horns he sports belong to his original form: in ancient Greek religion and mythology, later adopted by the Romans, Pan was the god of the wild, of nature and countryside.

In the first centuries of Christian expansion, a term was needed to qualify the non-believers, and the Latin paganus, meaning peasant was chosen to forge the word pagan incarnated by Pan, to become the image of the devil.

………………………….

Perçues comme les armes des animaux, les cornes étaient un symbole fort de puissance et de force, attribué aux guerriers, aux héros et aux rois, et métaphoriquement comme des rayons de lumière, d’où une erreur de traduction attribuant des cornes à Moïse, une faute grotesque.

La corne n’est pas seulement un symbole, c’est probablement l’instrument sonore le plus ancien, avec la conque.
Plus tard, beaucoup plus tard, elle fut imitée sous la forme de l’oliphant, un cor d’ivoire en défense d’éléphant.

Il est remarquable que le terme soit toujours utilisé pour les instruments de musique, “les cornes” désignant à la fois la famille des cuivres parmi lesquels se trouve le cornet (du latin cornua, “corne”) et les bois auxquels appartient la famille du saxophone (et non les cuivres) à cause de l’anche.

Aujourd’hui, il existe des usages vestigiaux et symboliques des cornes, le plus ancien étant devenu un signe de la main pour rock’n roll, mais signifiant à l’origine “cocu” selon la légende du Minotaure.
Il est toujours utilisé en Italie, en Espagne et en Grèce, comme insulte (ne signez pas R’n R dans ces pays).

L’anglais a conservé l’adjectif “horny” qui signifie concupiscent, avec un faisceau de corrélations, le tout en rapport avec le taureau, ses cornes et son endurance sexuelle.

Enfin et surtout, le diable n’est pas seulement “horny”, mais il contient la liste complète des péchés. Les cornes qu’il porte appartiennent à sa forme originelle : dans la religion et la mythologie grecques anciennes, adoptées plus tard par les Romains, Pan était le dieu de la nature sauvage, de la nature et de la campagne.

Dans les premiers siècles de l’expansion chrétienne, il fallait un terme pour qualifier les non-croyants, et le latin paganus, qui signifie paysan, a été choisi pour forger le mot païen incarné par Pan, pour devenir l’image du diable.

Keren © Addé 2018 – photos Xea B.

Standing as a symbol of strength and light, this sculpture is a potential trophy.
Comme un symbole de force et de lumière, cette sculpture est un trophée potentiel.
 

El sueño del conquistador – Sculpture by Addé 2018

 
Dreams of grandeur, dreams of power, dreams of nobility, but above all, dreams of gold, mountains of gold.

The unquenchable thirst for gold against which nobody may oppose.

The quest for el Dorado will show no mercy, no pity, no humanity, and no guilt, since it serves the king of Spain, and, above all, is done for the glory of god and the salvation of the pagan savages.

The conquest of the Americas may serve as a lesson for those believers in gentle aliens pacifically coming to Earth « to serve man » a short story by American writer Damon Knight (1950).

Please watch « Aguirre, the Wrath of God » a 1972 masterpiece written and directed by Werner Herzog with fabulous Klaus Kinski in the title role.

…………………..

Rêves de grandeur, rêves de puissance, rêves de noblesse, mais surtout, rêves d’or, de montagnes d’or.

La soif insatiable d’or à laquelle personne ne peut s’opposer.

La quête de l’Eldorado ne fera preuve d’aucune pitié, d’aucune humanité, d’aucune culpabilité, car elle sert le roi d’Espagne et, surtout, elle est faite pour la gloire de dieu et le salut des sauvages païens.

La conquête des Amériques peut servir de leçon aux croyants en de doux extraterrestres qui viendraient pacifiquement sur Terre “pour servir l’homme”, une nouvelle de l’écrivain américain Damon Knight (1950).

Veuillez regarder “Aguirre, la colère de Dieu”, un chef-d’œuvre de 1972 écrit et réalisé par Werner Herzog avec le fabuleux Klaus Kinski dans le rôle titre.

El sueño del conquistador © Addé 2018 – photos Xea B.

 
A sculpture to reflect the magnificence and despair of human kind.
Une sculpture qui reflète la magnificence et le désespoir du genre humain.
 

The tree of knowledge – Sculpture by Addé 2018

The tree of knowledge

Trees appeared on earth at the end of the Devonian (360 million years) and more abundantly at the Carboniferous era 250 million years ago when we were shrews and terrorised by the dinosaurs.
Hence, the myth of dragons, if we subscribe to a partial transmission of memory through genetics.

So, humanity has always known trees, which have been a fundament of life as well as a rich symbol.

According to different cultures trees represent various archetypes, yet surprisingly close to one another (as well as dragons).

Knowledge, sapience, might be a universally shared value, as trees grow and develop with age and spread from the trunk to the tiniest twigs in forms known now as fractals.

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Les arbres sont apparus sur terre à la fin du Dévonien (360 millions d’années) et plus abondamment au Carbonifère il y a 250 millions d’années, lorsque nous étions des musaraignes et terrorisés par les dinosaures.
D’où le mythe des dragons, si l’on souscrit à une transmission partielle de la mémoire par la génétique.

Ainsi, l’humanité a toujours connu les arbres, qui ont été un fondement de la vie ainsi qu’un riche symbole.

Selon les cultures, les arbres représentent différents archétypes, mais étonnamment proches les uns des autres (tout comme les dragons).

La connaissance, la sapience, pourrait être une valeur universellement partagée, car les arbres grandissent et se développent avec l’âge et se propagent du tronc aux plus petits rameaux sous des formes connues aujourd’hui sous le nom de fractales.

The tree of knowledge © Addé 2018 – photos Xea B.

 
 
Admire, respect, and cherish trees as a marvel of nature amongst so many.
Admirez, respectez et chérissez les arbres comme une merveille de la nature parmi tant d’autres.

Hope – Sculpture by Addé 2018

 
Hope

Animals, and most humans seek happiness.

Many words can express what happiness can be, according to each individual’s expectations.

But for each of those words, there is an antonym, an opposite, dark side.

When life gives you lemons, whatever your reaction might be, there is a word which should be praised : HOPE.

In the saddest and most dreadful situations, even when hope has been given up, there is still hope…

…………………

Les animaux, et la plupart des humains, recherchent le bonheur.

De nombreux mots peuvent exprimer ce que peut être le bonheur, en fonction des attentes de chacun.

Mais pour chacun de ces mots, il y a un antonyme, un côté opposé, sombre.

Quand la vie vous donne des citrons, quelle que soit votre réaction, il y a un mot qui doit être loué : ESPOIR.

Dans les situations les plus tristes et les plus terribles, même lorsque l’espoir a été abandonné, il y a encore de l’espoir…

Hope © Addé 2018 – photos Xea B.

Peter Gabriel – Don’t Give Up (ft. Kate Bush)

As strangely at it sounds, when searching for hope, look for art!

Aussi étrange que cela puisse paraître, en quête d’espoir, cherchez l’art !

Playwork – Sculpture by Addé 2018

Playwork

Or workplay ?

Musicians play, composers work, actors play, authors work, yet they write plays.

Artists work too.

Is it simply a matter of vocabulary, or is there an understatement delineating, defining, determinating, a radical frontier between fun and labour ?

Sports people play, which is acceptable as the only brain activity needed is limited to a ball.

What if those who create by working, would, baldly start playing ?

Would a semantic sliding influence their creation ?

Playing has an extended meaning, when children, animals, play, they, obviously, are having fun.

Is a performing musician having fun ?

It is a common opinion that artists don’t work, furthermore, they are suspected of taking people for idiots.

All in all, they are despised, unless being successful.

Now, is time to clarify this ambiguity : whether artists work, at least as much as anybody else, and then should be regarded as such, or, they are players and their creations should be considered as recreational.

Ludo-labeur
Ou travail ludique ?

Les musiciens jouent, les compositeurs travaillent, les acteurs jouent, les auteurs travaillent, et pourtant ils écrivent des pièces (plays).

Les artistes travaillent aussi.

Est-ce simplement une question de vocabulaire, ou y a-t-il un euphémisme qui délimite, définit, détermine, une frontière radicale entre le plaisir et le travail ?

Les sportifs jouent, ce qui est acceptable car la seule activité cérébrale nécessaire se limite à un ballon.

Et si ceux qui créent en travaillant, se mettaient soudain à jouer ?

Un glissement sémantique influencerait-il leur création ?

Le jeu a une signification étendue, lorsque les enfants, les animaux, jouent, ils s’amusent, évidemment.

Est-ce qu’un musicien s’amuse ?

On pense souvent que les artistes ne travaillent pas et qu’ils sont soupçonnés de prendre les gens pour des idiots.

Dans l’ensemble, ils sont méprisés, sauf s’ils ont du succès.

Il est maintenant temps de clarifier cette ambiguïté : les artistes travaillent-ils, au moins autant que les autres, et de facto, être considérés comme tels, ou sont-ils des joueurs et leurs créations doivent-elles être considérées comme des loisirs ?

Playwork © Addé 2018 – photos Xea B.

Let’s put the fun back into working.

Retrouvons du plaisir au travail.

Wee Morphie – Sculpture by Addé 2018

Once I saw a local train, so cute, I had to say “it looks like a gigantic miniature train.”

The scale of objects, and/ or beings has always been an object of curiosity, attraction/ repulsion or love.

Scale models fascinate a large audience, and so are magnified objects.

Jonathan Swift’s Gulliver’s Travel, although a satirical masterpiece and philosophical novel, contains the alpha and omega of such a fascination.

When it comes to sculpture, the final result will stand at its height, yet not different if reduced or enlarged, besides minor corrections.

Simply, when a sculpture is huge, as, de facto, compared with the human size, it will be contemplated because of its tallness, and, therefore, better seen than if small.

A primary perception is based on size, as a very humanly sense of comparison to oneself, but is fatuous when watching sculpture.

 
…………………………
 

Un jour, j’ai vu un train de campagne si mignon que j’ai dû dire ” il a l’air d’un train miniature géant”.

L’échelle des objets et/ou des êtres a toujours été un objet de curiosité, d’attraction/répulsion ou d’amour.

Les modèles réduits fascinent un large public, tout comme les objets agrandis.

Les Voyages de Gulliver de Jonathan Swift, est non seulement un chef-d’œuvre satirique et un roman philosophique, mais il contient l’alpha et l’oméga d’une telle fascination.

En matière de sculpture, le résultat final sera à ses proportions maximales, mais il ne sera pas différent s’il est réduit ou agrandi, à part quelques corrections mineures.

Simplement, lorsqu’une sculpture est monumentale, étant, de facto, comparée à la taille humaine, elle sera observée en raison de sa taille, et donc mieux perçue que petite.

Une perception première repose sur la taille, selon une perception bien humaine de la comparaison avec soi-même, mais elle est futile quand on regarde une sculpture.

Wee Morphie © Addé 2018 – photos Xea B.

There is no such a thing as a small sculpture.
Il n’existe pas de petite sculpture.

# Morphogenesis
 

The Storm – Sculpture by Addé 2018

Zeus, the god of thunder and storms was feared for his wrath and mighty power.

In ancient times, nothing could explain storms other than a godly sign of ire.

Jupiter, Ammon, Seth, Tinia, Baal Shamen, Indra, Feng Lung, Thunderbird, Oya, each civilisation has named and anthropomorphized the storm.

Still, today, storms are feared for their devastating strength, while in other places they are a blessing.

Nevertheless, storms are a major exhibition of nature’s force, and, as such, admired for their beauty.

…………………………………………

Zeus, le dieu du tonnerre et des orages, était craint pour sa colère et sa puissance.

Dans les temps anciens, rien ne pouvait expliquer les tempêtes si ce n’est un signe divin de colère.

Jupiter, Ammon, Seth, Tinia, Baal Shamen, Indra, Feng Lung, Thunderbird, Oya, chaque civilisation a nommé et anthropomorphisé les éléments déchainés.

Aujourd’hui encore, les intempéries sont redoutées pour leur force dévastatrice, alors qu’en d’autres lieux, elles sont une bénédiction.

Néanmoins, les orages sont une manifestation majeure de la force de la nature et, à ce titre, admirés pour leur beauté.

Storm © Addé 2018 – photo Xea B.

The Storm © Addé 2018 – photo Xea B.

The Storm © Addé 2018 – photo Xea B.

The Storm © Addé 2018 – photo Xea B.

The Storm © Addé 2018 – photo Xea B.

The Storm © Addé 2018 – photo Xea B.

The Storm © Addé 2018 – photo Xea B.

The Storm © Addé 2018 – photo Xea B.

The Storm © Addé 2018 – photo Xea B.

The Storm © Addé 2018 – photo Xea B.

“The Storm” Sculpture by Addé 2018

Difference between sculpture and storms is sculptures don’t scare dogs.

La différence entre la sculpture et les orages est que les sculptures n’effraient pas les chiens.

Sadness of the clown – Sculpture by Addé 2018

 
Coulrophobia has become a trend turning clowns into creepy monsters, but clowns are the fundamental source of laughter.

The art of clowning has a long and rich tradition and history, from Pygmy clowns in ancient Egypt to court jesters in medieval Europe, and long before in ancient times.

From Aristotle who praised laughter, to Freud who rather despised it, it is essential to mankind (and not only) to rejoice and be merry.

But what is laughter, how does it initiate, and why, has been brilliantly analysed by French philosopher Henri Bergson (in 1900) in « Laughter, an essay on the meaning of the comic ».

A book worth reading to understand the mechanisms and psychology of laughter.

 
……………………

La coulrophobie est devenue une tendance qui transforme les clowns en monstres effrayants, mais les clowns sont la source fondamentale du rire.

L’art clownesque a une longue et riche tradition et histoire, des clowns pygmées de l’Égypte ancienne aux bouffons de la cour de l’Europe médiévale, et bien avant dans l’Antiquité.

D’Aristote qui louait le rire, à Freud qui le méprisait plutôt, il est essentiel pour l’humanité (et pas seulement) de se réjouir et d’être joyeux.

Mais ce qu’est le rire, comment il se déclenche , et pourquoi, a été brillamment analysé par le philosophe français Henri Bergson (en 1900) dans “Le rire, essai sur le sens du comique

Un livre qui vaut la peine d’être lu pour comprendre les mécanismes et la psychologie du rire.

Sadness of the clown © Addé 2018 – photo Xea B.

Sadness of the clown © Addé 2018 – photo Xea B.

Sadness of the clown © Addé 2018 – photo Xea B.

Sadness of the clown © Addé 2018 – photo Xea B.

Sadness of the clown © Addé 2018 – photo Xea B.

Sadness of the clown © Addé 2018 – photo Xea B.

Sadness of the clown © Addé 2018 – photo Xea B.

Sadness of the clown © Addé 2018 – photo Xea B.

Sadness of the clown © Addé 2018 – photo Xea B.

Sadness of the clown © Addé 2018 – photo Xea B.

Sadness of the clown © Addé 2018 – photo Xea B.

“Sadness of the clown” Sculpture by Addé 2018

Is there any monument dedicated to clowns and laughter? Yes, and here it is.
Existe-t-il un monument dédié aux clowns et au rire ? Oui, et le voici.
 

Reliquary I – Sculpture by Addé 2016

Seemingly from the most ancient times, humankind has had the will of keeping memories of their predecessors in many different forms.

Some were physical remains, from body parts to possessions of the gone persons, others were symbolic.

All in all, whatever the form might be, memory was not only a duty, but the conservation of what was before, linking the past to the present and forwarding the transmission to the next generation.

Obviously, this, is today considered as inappropriate, and denial is the trend, as the past is no more regarded as the factor of our own existence, but just wrong when not fitting with today’s doxa.

………………….

Depuis les temps les plus anciens, l’humanité a eu la volonté de conserver la mémoire de ses prédécesseurs sous de nombreuses formes.

Certains étaient des restes physiques, allant des parties de corps aux possessions des personnes disparues, d’autres étaient symboliques.

Dans l’ensemble, quelle que soit la forme, la mémoire n’était pas seulement un devoir, mais la conservation de ce qui était avant, reliant le passé au présent et transmettant ces objets mémoriels à la génération suivante.

Il est évident que cela est aujourd’hui considéré comme inapproprié, et la tendance est à la négation, car le passé n’est plus considéré comme le facteur de notre propre existence, mais comme inacceptable lorsqu’il ne correspond pas à la doxa actuelle.

Reliquary I © Addé 2016 – photo Xea B.

Reliquary I © Addé 2016 – photo Xea B.

Reliquary I © Addé 2016 – photo Xea B.

Reliquary I © Addé 2016 – photo Xea B.

Reliquary I © Addé 2016 – photo Xea B.

Reliquary I © Addé 2016 – photo Xea B.

“Reliquary I” Sculpture by Addé 2016

A work of art, a sculpture, transmitted through generations, acquires the status of relics.

Une œuvre d’art, une sculpture, transmise de génération en génération, acquiert le statut de relique.

Votive offering II – Sculpture by Addé 2018

Science, knowledge, technologies, are improving our lives.

Not all for the better though, as they generate dependencies, addictions, and fast-food craving, slowly making us drift away from the fundamental rules of nature.

Being urban at the countryside, simply looking at the sky at night is wonderful, yet holds a part of scare or concern, when contemplating the immensity of space above, transporting us way back when perplexity and conjectures were the rules, and gods the only recomforting invention (well, at least, some of them).

In desperate situations, when fear outcomes hope, and you are not lost at sea at night, hearing the « Jaws theme music, the last resort might be an oblate to what/ who ever might interfere and break the fate.

……………………………………..

La science, la connaissance, les technologies, améliorent notre vie.

Mais pas toutes en bien, quand elles engendrent des dépendances, des envies irrépressibles et des frénésies de fast-food, nous faisant lentement dériver loin des règles fondamentales de la nature.

Être urbain à la campagne, simplement regarder le ciel la nuit, est un émerveillement, mais suscite une part de crainte ou d’inquiétude, lorsque l’on contemple l’immensité de l’espace au-dessus de nous, nous ramenant à l’époque où la perplexité et les conjectures étaient les règles, et les dieux la seule invention réconfortante (enfin, du moins, certaines d’entre elles).

Dans les situations désespérées, lorsque la peur fait place à l’espoir et que vous n’êtes pas perdu en mer la nuit, entendant la musique des dents de la mer, le dernier recours pourrait être un oblat à qui/quoi pourrait intervenir et conjurer le sort.

Votive offering II © Addé 2018 – photo Xea B.

Votive offering II © Addé 2018 – photo Xea B.

Votive offering II © Addé 2018 – photo Xea B.

Votive offering II © Addé 2018 – photo Xea B.

Votive offering II © Addé 2018 – photo Xea B.

Votive offering II © Addé 2018 – photo Xea B.

Votive offering II © Addé 2018 – photo Xea B.

Votive offering II © Addé 2018 – photo Xea B.

Votive offering II © Addé 2018 – photo Xea B.

Votive offering II © Addé 2018 – photo Xea B.

Votive offering II © Addé 2018 – photo Xea B.

“Somewhere Over the Rainbow by Israel Kamakawiwo’Ole

Where the first sculptures religious, or profane ?

Les premières sculptures étaient-elles religieuses, ou profanes ?

African Homage – tribute – votive-offering

Impression Timbuktu – Addé – Sculpture by Addé 2017

 
When Timmy the hedgehog visited Timbuktu, he was strongly impressed with its stunning architecture and just had to express how he felt.

Being a hedgehog, not Stendhal or Monet, yet pompous and not very accurate, he had to represent himself topping it all.

No one had the heart to say anything, criticise, and even less removing him.

So, there we are, as nothing is gonna change his world…
 

Impression Timbuktu – Addé © Addé 2017 – photo Xea B.

Impression Timbuktu – Addé © Addé 2017 – photo Xea B.

Impression Timbuktu – Addé © Addé 2017 – photo Xea B.

Impression Timbuktu – Addé © Addé 2017 – photo Xea B.

Impression Timbuktu – Addé © Addé 2017 – photo Xea B.

Impression Timbuktu – Addé © Addé 2017 – photo Xea B.

Impression Timbuktu – Addé © Addé 2017 – photo Xea B.

Impression Timbuktu – Addé © Addé 2017 – photo Xea B.

 
Notwithstanding his love for art, sculpture, and architecture, Timmy remains a cranky and stubborn character…

The Circus Dragon’s tooth – Sculpture by Addé 2018

A long long time ago, long before history started to be written, circuses were featuring dragons.
They could perform all sorts of acts, from carpet acts, to bareback riding on mice.
They were excellent at volting and amazing at somersaulting, walking the hoop, and juggling.
But they were topping the bill at clowning !
To commemorate and celebrate their skills, one of their teeth was donated in memoriam.
So precious and so rare, this is the sole and unique one remaining.

The Circus Dragon’s tooth © Addé 2018 – photo Xea B.

The Circus Dragon’s tooth © Addé 2018 – photo Xea B.

The Circus Dragon’s tooth © Addé 2018 – photo Xea B.

The Circus Dragon’s tooth © Addé 2018 – photo Xea B.

The Circus Dragon’s tooth © Addé 2018 – photo Xea B.

The Circus Dragon’s tooth © Addé 2018 – photo Xea B.

The Circus Dragon’s tooth © Addé 2018 – photo Xea B.

The Circus Dragon’s tooth © Addé 2018 – photo Xea B.

The Circus Dragon’s tooth © Addé 2018 – photo Xea B.

The Circus Dragon’s tooth © Addé 2018 – photo Xea B.

The Circus Dragon’s tooth © Addé 2018 – photo Xea B.

 
When sculpture celebrates dragons.
 

A present from the past to the future – Sculpture by Addé 2018

 
A present is a gift, an offering, an oblate.
Of course, it also means « today », and, as funny as it is, today’s art is called « contemporary » and has been named so, for such a long time that its sense has slid from proper (belonging to or occurring in the present) to specific forms of art.

Just as « modern art » which was in use previously, ended up with defining a certain era.

The point, here is the double-entendre of the word.

So, how long « contemporary » will last, until a new designation appears, making it obsolete ?

Each year the Christians celebrate the nativity, when the wise men bring presents to the baby born.

Beyond the religious legend, there is a universal symbol of giving, offering the world to the newly born, and, in fact, the present is today and today’s world at the time of the winter solstice, and the double-entendre might occur here too, as the newly born is symbolically entering the present.

A present from the past to the future © Addé 2018 – photo Xea B.

A present from the past to the future © Addé 2018 – photo Xea B.

A present from the past to the future © Addé 2018 – photo Xea B.

A present from the past to the future © Addé 2018 – photo Xea B.

A present from the past to the future © Addé 2018 – photo Xea B.

A present from the past to the future © Addé 2018 – photo Xea B.

A present from the past to the future © Addé 2018 – photo Xea B.

A present from the past to the future © Addé 2018 – photo Xea B.

A present from the past to the future © Addé 2018 – photo Xea B.

We know about the past, we wonder about the future, art, like this sculpture, celebrates the present.
 

Morphogenesis IV

Sculpture by Addé 2018

When art, eventually, reached an ending point, it was when the form vanished as the contents became the only concern.

Therefore, this ending point was the opportunity to start anew with questions such as: “what is a form?” “how does it start?” “where does it end?”

If birds didn’t exist, it is probable that mankind would never had thought of flying, and that is probably true with scuba diving from the observation of water life.

Nature is certainly a source of contemplation, admiration, and satisfaction, but further than that, an example in many ways for those who observe it with a teleological mind.

The principle of life according to Darwin, is based on adaptation and evolution. In that senses, we get fundamental information from nature on how things reach perfection.

Sculpture existed long before humanity became aware of dimensions. It was named “volume”. Now we accessed to 3D which is basically a new definition of the same principle, except it might be a way to the 4th…
Get ready!

Morphogenesis IV © Addé 2018.

Morphogenesis IV © Addé 2018.

Morphogenesis IV © Addé 2018.

Morphogenesis IV © Addé 2018.

Morphogenesis IV © Addé 2018.

Morphogenesis IV © Addé 2018.

Morphogenesis IV © Addé 2018.

Morphogenesis IV © Addé 2018.

Morphogenesis IV © Addé 2018.

Morphogenesis IV © Addé 2018 – photos Xea B.

From stone to bone – Sculpture by Addé 2018

 
Evolution is on, and so is involution…

Some species evolve, others regress, many get extinct.

Although the pace of evolution can be retrospectively measured, its speed does not allow us to witness its progress, nor its regression.

Nevertheless, as Goethe said, nothing on this planet is not natural, therefore, if we endorse the big bang as the starting point, life has developed, from stone to bones and flesh, since we know now the hen came first.

And that goes for the whole universe, as far as we know, except perhaps, for Miss Universe, who, not only doesn’t fear any outsider candidate, but might sport some (eat your heart out, Goethe) artificial enhancements…

From stone to bone © Addé 2018 – photo Xea B.

From stone to bone © Addé 2018 – photo Xea B.

From stone to bone © Addé 2018 – photo Xea B.

From stone to bone © Addé 2018 – photo Xea B.

From stone to bone © Addé 2018 – photo Xea B.

From stone to bone © Addé 2018 – photo Xea B.

“From stone to bone” Sculpture by Addé 2018

Matter is a basic element for life. Matter is transformed to meet the necessities of life, and, sometimes, to become sculpture.

Baron Samedi – Sculpture by Addé 2018

Baron Samedi, eminent member of the Voodoo spirits, is the head of the Guédé family of Iwa, powerful, scary, and numerous, which embodies fertility and death, with particular links to magic and ancestor worship. His wife is Maman Brigitte.

As well as being the master of the dead, Baron Samedi is also a giver of life.

He is syncretized with Saint Martin de Porres, the first Black saint in the Americas (1579-1639) known for his compassion to the poor and stray animals.

Voodoo is an intensely syncretic religion with Western African roots of, mainly the Yoruba, the Fon, and the Ewe. Their animist beliefs mixed together with Roman Catholicism and the Native Americans’ beliefs to form a whole new faith.

Iwa are the spirits of Haitian and Louisiana Voodoo. They are also referred to as “mystères and invisibles” and are intermediaries between Bondye (French: Bon Dieu) and humans.

………………………………….

Le Baron Samedi, membre éminent des esprits du Vaudou, est le chef de la famille Guédé d’Iwa, puissante, effrayante et nombreuse, qui incarne la fertilité et la mort, avec des liens particuliers avec la magie et le culte des ancêtres. Sa femme est Maman Brigitte.

En plus d’être le maître des morts, le Baron Samedi est aussi un donneur de vie.

Il est syncrétisé avec Saint Martin de Porres, le premier saint noir des Amériques (1579-1639) connu pour sa compassion envers les pauvres et les animaux errants.

Le vaudou est une religion intensément syncrétique dont les racines sont en Afrique de l’Ouest, principalement chez les Yoruba, les Fon et les Ewe. Leurs croyances animistes se sont mêlées au catholicisme romain et aux croyances des Amérindiens pour former une toute nouvelle foi.

Les Iwa sont les esprits du vaudou haïtien et louisianais. Ils sont aussi appelés “mystères et invisibles” et sont des intermédiaires entre les Bondye (français : Bon Dieu) et les humains.

Cette sculpture porte une peinture à ponctuation optique rappelant le martelé de la musique vaudou obsessionnelle

Baron Samedi © Addé 2018 – photo Xea B.

Baron Samedi © Addé 2018 – photo Xea B.

Baron Samedi © Addé 2018 – photo Xea B.

Baron Samedi © Addé 2018 – photo Xea B.

Baron Samedi © Addé 2018 – photo Xea B.

Baron Samedi © Addé 2018 – photo Xea B.

Baron Samedi © Addé 2018 – photo Xea B.

Baron Samedi © Addé 2018 – photo Xea B.

Baron Samedi

This sculpture bears an optical punctuated painting reminiscent of the martelé of obsessional Voodoo music.

Cette sculpture porte une peinture à ponctuation optique rappelant le martelé de la musique vaudou obsessionnelle.

Votive offering – Sculpture by Addé 2018

Before science, before explanations became available, there was hope, hope only.

Facing pain, distress, disasters of all sorts, famine, drought, flood, all the miseries humankind has been facing since the beginning of times, something had to be done.

Without resources, knowledge, or even understanding, humankind invented the invocation of forces above them.

All sorts of sacrifices were performed, even the cruellest ones, trying to deflect fate.

Therefore, offerings were invented, vows were performed in the form of objects displayed or/ and deposited, to gain favour with supernatural forces.

……………………………

Avant la science, avant que les explications ne soient disponibles, il y avait l’espoir, et l’espoir seulement.
Face à la douleur, à la détresse, aux catastrophes de toutes sortes, à la famine, à la sécheresse, aux inondations, à toutes les misères auxquelles l’humanité a été confrontée depuis le début des temps, il fallait faire quelque chose.

Sans ressources, sans connaissances, ni même compréhension, l’humanité a inventé l’invocation de forces supérieures.

Toutes sortes de sacrifices ont été faits, même les plus cruels, pour tenter de détourner le destin.

C’est pourquoi on inventa les offrandes, on fit des vœux sous forme d’objets exposés ou/et déposés, pour gagner la faveur des forces surnaturelles.

Votive offering © Addé 2018 – photo Xea B.

Votive offering © Addé 2018 – photos Xea B.

Votive offering © Addé 2018 – photos Xea B.

Votive offering © Addé 2018 – photos Xea B.

Votive offering © Addé 2018 – photos Xea B.

Votive offering © Addé 2018 – photos Xea B.

Votive offering © Addé 2018 – photos Xea B.

“Votive offering” Sculpture by Addé 2018

Sculpture might be the vestigial remain of votive offering.

Une sculpture peut être le vestige d’une offrande votive.

African Homage – tribute – votive-offering

Tristesse – Sculpture by Addé 2018

Chopin-Etude no. 3 in E major, Op. 10 no. 3
Tristesse, saudad, sadness, and many more words in all languages,
are just synonyms for the blues…
Although specific of a genre, the blues is universal and especially well expressed through music and poetry.

Chopin-Etude no. 3 en mi majeur, op. 10 no. 3
Tristesse, saudad, sadness, et bien d’autres mots dans toutes les langues,
ne sont que des synonymes du blues…
Bien que spécifique d’un genre, le blues est universel et surtout bien exprimé à travers la musique et la poésie.

Tristesse © Addé 2018 – photos Xea B.

Tristesse © Addé 2018 – photos Xea B.

Tristesse © Addé 2018 – photos Xea B.

Tristesse © Addé 2018 – photos Xea B.

Tristesse © Addé 2018 – photos Xea B.

Tristesse © Addé 2018 – photos Xea B.

Tristesse © Addé 2018 – photos Xea B.

Chopin-Etude no. 3 in E major, Op. 10 no. 3, “Tristesse”

Tristesse – Sculpture by Addé 2018

When a sculpture plays the blues…

Quand une sculpture joue le blues…

Tenderness – Sculpture by Addé 2018

Whatever form it might show,
tenderness is universally felt as positive and enjoyable.
Just like yawning,
tenderness is contagious and will get a feed back.
Gentleness, kindness, sympathy, all forms, as many synonyms you may find,
lead to lovingness.

…………………………

Quelle que soit la forme qu’elle prend,
la tendresse est universellement ressentie comme positive et agréable.
Tout comme les bâillements,
La tendresse est contagieuse et elle sera réciproque.
Douceur, gentillesse, sympathie, toutes les formes, autant de synonymes que vous puissiez trouver,
mènent à l’amour.

Tenderness © Addé 2018 – photos Xea B.

Tenderness © Addé 2018 – photos Xea B.

Tenderness © Addé 2018 – photos Xea B.

Tenderness © Addé 2018 – photos Xea B.

Tenderness © Addé 2018 – photos Xea B.

Tenderness © Addé 2018 – photos Xea B.

Tenderness © Addé 2018 – photos Xea B.

Tenderness © Addé 2018 – photos Xea B.

Tenderness © Addé 2018 – photos Xea B.

Tenderness © Addé 2018 – photos Xea B.

Tenderness © Addé 2018 – photos Xea B.

Try A Little Tenderness – Otis Redding

“Tenderness” Sculpture by Addé 2018

This sculpture was created with and for tenderness, as simple and deep as it is.

……………………….

Cette sculpture a été créée avec et pour la tendresse, aussi simple et profonde qu’elle soit.

Morphogenesis III

Sculpture by Addé 2018

Nature is a formidable architect, from the simplest creatures to much sophisticated ones, many species are builders, amazing builders.

Not only fauna, but flora is shrewdly structured, and yes, it is all mathematics, just like the Universe.

Then, humankind has been building since its quite early stage.

For what we know, it started with precarious, seasonal shelters until hunter-gatherers eventually settled down and built permanent constructions.

From then to now, architecture, although inventive and diverse, is based on the same principles: verticals, horizontals, and ways to connect them with heterogeneous materials.

Even the most modern, sophisticated, buildings are based on the very same concept, until now…

Understanding morphogenesis relies on quite fundamental questions: how does a form start, how does it settle continuously (principle of continuity) and how a homogeneous self-supporting matter can be used without frame and/or form work.

…………………………………………………

La nature est un formidable architecte, des créatures les plus simples aux plus sophistiquées, de nombreuses espèces sont des bâtisseurs, des bâtisseurs étonnants.

Non seulement la faune, mais aussi la flore sont astucieusement structurées, et oui, tout cela relève des mathématiques, tout comme l’Univers.

Puis, l’espèce humaine a construit depuis son tout début.

Pour ce que nous savons, cela a commencé par des abris précaires et saisonniers jusqu’à ce que les chasseurs-cueilleurs finissent par se sédentariser et bâtir des constructions permanentes.

Depuis lors, l’architecture, bien qu’inventive et diverse, repose sur les mêmes principes : des verticales, des horizontales et des moyens de les relier avec des matériaux hétérogènes.

Même les bâtiments les plus modernes et les plus sophistiqués sont basés sur le même concept, jusqu’à aujourd’hui…

La compréhension de la morphogenèse repose sur des questions tout à fait fondamentales : comment une forme commence-t-elle, comment se fixe-t-elle de manière continue (principe de continuité) et comment une matière homogène autoportante peut être utilisée sans cadre et/ou sans travail de forme.

“Morphogenesis III” 

Morphogenesis III © Addé 2018 – photos Xea B.

Morphogenesis III © Addé 2018 – photos Xea B.

Morphogenesis III © Addé 2018 – photos Xea B.

Morphogenesis III © Addé 2018 – photos Xea B.

Morphogenesis III © Addé 2018 – photos Xea B.

Morphogenesis III © Addé 2018 – photos Xea B.

Morphogenesis III © Addé 2018 – photos Xea B.

Morphogenesis III © Addé 2018 – photos Xea B.

When sculpture celebrates the future of architecture…

              ………………………..

Quand la sculpture célèbre l’avenir de l’architecture…

Long Time Gone – Sculpture by Addé 2018

One day, some day, another day, something happened here.
What it was is unknown, simply forgotten.
It had no importance, just an anecdote amongst myriads.
Life was there, with all its expectations, all its hopes, joys, and sorrow.
Now gone.
Gone the memories,
Gone the care and compassion,
Gone the sounds,
Gone the smells,
All is gone, but silence.

………………………

Un jour, un de ces jours, un autre jour, quelque chose s’est passé ici…
Ce que c’était est inconnu, simplement oublié.
Cela n’avait aucune importance, une simple anecdote parmi des myriades.
La vie était là, avec toutes ses attentes, tous ses espoirs, ses joies et ses peines.
Désormais disparue.
Les souvenirs ont disparu,
Disparues la sollicitude et la compassion,
Disparus les sons,
Disparues les odeurs,
Tout a disparu, sauf le silence.

Long Time Gone © Addé 2018 – photos Xea B.

“Long Time Gone” Sculpture by Addé 2018

Some paintings are named « still life » as if life could stand still. Then, a sculpture can be still forever, a dry bone on a dry stone, somewhere no one goes.

………………

Certains tableaux sont nommés “natures mortes” comme si la nature pouvait s’immobiliser.
Cependant, une sculpture peut être immobile pour toujours, un os sec sur une pierre sèche, quelque part où personne ne va.

Danse Fambeaux – Sculpture by Addé 2018

Danse Fambeaux ( A la Gris-Gris, kalimbo-kalimbo)

Danse Fambeaux is a title from one of the best alba ever recorded, Dr John’s « Gris-Gris ».

On this album, released 50 years ago, far too much advanced for its time, Dr John plays unique compositions based on his Louisiana cultural heritage, including the fascinating domain of voodoo.

Here is what he said about it :

……………………

Danse Fambeaux est le titre de l’un des meilleurs alba jamais enregistrés, ” Gris-Gris ” de Dr John.

Sur cet album, sorti il y a 50 ans, bien trop avancé pour son époque, le Dr John joue des compositions uniques basées sur son héritage culturel de Louisiane, y compris le domaine fascinant du vaudou.

Voici ce qu’il a dit à ce sujet :

“I will mash my special faix deaux-deaux on all you who buy my charts, the rites of Coco Robicheaux who, invisible to all but me, will act as a second guardian angel until you over-work him. All who attend our rites will receive kites from the second tier of Tit Alberto who brought the Saute Chapeau. To Chieu Va Bruler up to us from the Antilles to the bayou St. John. Aunt Francis who told me the epic of Jump Sturdy and Apricot Glow. Mimi, who in silence, says the lyrics to Mamma Roux in Chipacka the Chopatoulis Chocktaws without teepees on Magnolia Street and wise to the Zulu parade and the golden blade the sun-up to sun-down second liners who dig Fat Tuesday more than anybody and that’s plenty. I have also dug up the old Danse Kalinda to remind you we have not chopped out the old chants and the new Croaker Courtbuillion to serve Battiste style of Phyco-Delphia. We did the snake a la gris-gris calimbo to frame our thing into the medium of down under yonder fire. We walked on gilded splinters to shove my point across to you whom I will communicate with shortly through the smoke of deaux-deaux the rattlesnake whose forked tongue hisses pig Latin in silk and satin da-zaw-ig-day may the gilded splinters of Aunte Andre spew forth in your path to light and guide your way through the bayous of life on your pirougue of heartaches and good times… Push and the shove that you need to get your point across no matter what the cost.”

Danse Fambeaux © Addé 2018 – photos Xea B.

“Danse Fambeaux” Sculpture by Addé 2018

Although modest, this gris-gris sculpture is a tribute to fabulous artist Dr John.

Ancient Ritual – Sculpture by Addé 2018

Théodore Monod (1902- 2000) was a French naturalist, biologist, erudite, and humanist, specialist of the desert.

In spite of his (very) old age, he was travelling across deserted areas, yet could, right away, spot any trace/ remains of an ancient human/ pre-human activity.

One day, while browsing a desolate space strewn with pebbles, he crouched down and picked up a rather large stone, then said: “this has been used as a tool, probably by someone in prehistoric times, then left there, where it still remains”.

Then he put back the stone at its exact spot, and went on his trek…

Many animals share the capacity of using elements as tools, mainly stones. Sometimes, wooden sticks, branches, are brandished by elephants or apes, yet not further than a threat.

If animals are able to grasp the concept of tool, they use them as they are found.

Then, around 2.5 million years ago, Homo habilis is able to modify found matter and adapt to its function.

Fashioning tools marks a second step from elementary teleology to the modification of matter using other materials.

Since then, we have not ceased to follow that principle, probably because improvement is fun, and necessity is the mother of invention!

“Ancient Ritual” 

Discovering ochres cliffs is, still today, an astonishment. In the early times of humanity, it must have been taken as a gift from the gods…

………………………………

La découverte des falaises d’ocres est, encore aujourd’hui, un étonnement. Dans les premiers temps de l’humanité, elle a dû être prise comme un don des dieux…

Ancient Ritual © Addé 2018 – photos Xea B.

Traces – Sculpture by Addé 2018

Long before « Kilroy was here », our ancestors felt the urge of marking, leaving their trace, should it be only a thumb coated in pigment.

Beyond the contingencies of everyday life, moving marks, traces, signatures, are found of long gone human beings…

Those troves have been made possible thanks to the concept of extended search which has allowed a much deeper knowledge of the paleolithic lifestyles.

Originally, in the early stage of prehistoric studies, excavations were concentrated on a limited area, unconsciously assimilated to a search for “precious” remains.

This radical evolution was brought, amongst others, by André Leroi-Gourhan (1911-1986) who was a French archaeologist, paleontologist, paleoanthropologist, and anthropologist.

His very rich and numerous contributions to human sciences have brought a completely new perception of human’s prehistory, introducing the concept of paleoethnology and extensive archaeological search, when they previously were focused on limited areas.

This quiet revolution, from treasure hunt to a large field of exploration, has permitted to understand the lives and behaviours of the paleolitic populations.

A contemporary sculpture and a prehistoric artifact have in common the intention to leave a trace as a testimony.

Must read : Gesture and Speech (Cambridge, Massachusetts & London: MIT Press, 1993) translation of Le geste et la parole, 2 vols. (Paris: Albin Michel, 1964–65)

…………………………..

Bien avant le “Kilroy was here”, nos ancêtres ont ressenti l’envie de marquer, de laisser leur trace, ne serait-ce qu’un pouce enduit de pigment.

Au-delà des contingences de la vie quotidienne, on retrouve des marques, des traces de déplacement, des signatures, d’êtres humains disparus depuis longtemps…

Ces découvertes ont été rendues possibles grâce au concept de recherche étendue qui a permis une connaissance beaucoup plus approfondie des modes de vie du paléolithique.

À l’origine, au début des études préhistoriques, les fouilles étaient concentrées sur une zone limitée, inconsciemment assimilée à une recherche de vestiges “précieux”.

Cette évolution radicale a été apportée, entre autres, par André Leroi-Gourhan (1911-1986) qui était un archéologue, paléontologue, paléoanthropologue et anthropologue français.

Ses très riches et nombreuses contributions aux sciences humaines ont apporté une perception totalement nouvelle de la préhistoire humaine, introduisant le concept de paléoethnologie et de recherche archéologique extensive, alors qu’elles étaient auparavant concentrées sur des zones limitées.

Cette révolution tranquille, de la chasse au trésor à un vaste champ d’exploration, a permis de comprendre la vie et les comportements des populations paléolithiques.

Une sculpture contemporaine et un artefact préhistorique ont en commun l’intention de laisser une trace comme un testament.

A lire absolument : Le geste et la parole, 2 vols. (Paris : Albin Michel, 1964-65)

“Traces” Sculpture by Addé 2018

Traces © Addé 2018 – photos Xea B.

Morphogenesis II

Sculpture by Addé 2018

You would not give a name to a blade of grass, we don’t pay attention to those.

Nonetheless, that wee piece of green life is growing with all its strength, to perfection.

Its corpus, as neglectable and petty as it is, has taken eons to reach that state of the art.

Nature, of which we are part, is consistently testing, improving, perfecting, well, everything !

Spryness of live is amazing in the proper sense : moving life out of the maze.

Unfortunately, evolution’s pace is out of our own life span, so very difficult to grasp.

Yet, just look around, see how meticulously every component of any life-form has been, and still is thoroughly reaching perfection.

……………………..

Vous ne donneriez pas un nom à un brin d’herbe, nous n’y prêtons pas attention.

Néanmoins, ce petit bout de vie verte pousse de toutes ses forces, à la perfection.

Son corpus, aussi négligeable et insignifiant soit-il, a mis des éons à atteindre cette modernité.

La nature, dont nous faisons partie, ne cesse de tester, d’améliorer, de perfectionner, de fait, tout !

La vivacité de la vie est étonnante au sens propre du terme : elle fait progresser la vie au delà de son état.

Malheureusement, le rythme de l’évolution est bien plus lent que notre propre durée de vie, donc très difficile à saisir.

Pourtant, il suffit de regarder autour de soi, de voir avec quelle minutie chaque composante de toute forme de vie a été et est encore en train de tendre vers la perfection.

Morphogenesis II © Addé 2018.

Morphogenesis II © Addé 2018.

Morphogenesis II © Addé 2018.

Morphogenesis II © Addé 2018.

Morphogenesis II © Addé 2018.

Morphogenesis II © Addé 2018.

Morphogenesis II © Addé 2018.

Morphogenesis II © Addé 2018.

Morphogenesis II © Addé 2018 – photos Xea B.

“Morphogenesis II” Sculpture by Addé 2018

A painted sculpture offers a sort of synesthesia, when colours being associated with shapes, give a triple esthesis : form, colours, and their combination.

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Une sculpture peinte offre une sorte de synesthésie, lorsque les couleurs étant associées aux formes, donnent une triple esthèse : forme, couleurs, et leur combinaison.

Morphogenesis I

Sculpture by Addé 2018

Along history, art has brought questions and answers, answers first, said Picasso.

Among the answers, Arman (Armand Fernandez 1928-2005) without knowing, induced one : his main and landmark works « accumulations» put an end to a multimillenary succession of sculptures.

Accumulation consists in filling up a transparent square container with objects of the same kind therefore, suppressing the question of the form, in other terms, the matter of the form, and… the form of the matter.

Then came the question : how did it start and what makes the origins of organized matter, in other terms, morphogenesis.

All living organisms, one way or another, are born, grow and develop by transforming matter to energy, and/or energy to matter in a fundamental « body building » process. Many of them elaborate structures.

This, from the start, is indeed Morphogenesis !

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Au cours de l’histoire, l’art a apporté des questions et des réponses, des réponses d’abord, a dit Picasso.

Parmi les réponses, Arman (Armand Fernandez 1928-2005) en a induit une sans le savoir : ses principales et marquantes “accumulations” ont mis fin à une succession multimillénaire de sculptures.

L’accumulation consiste à remplir un récipient carré transparent avec des objets de même nature, supprimant de facto la question de la forme, en d’autres termes, la matière de la forme, et… la forme de la matière.

Puis est venue la question : comment cela a-t-il commencé et qu’est-ce qui fait les origines de la matière organisée, en d’autres termes, la morphogenèse.

Tous les organismes vivants, d’une manière ou d’une autre, naissent, grandissent et se développent en transformant la matière en énergie, et/ou l’énergie en matière dans un processus fondamental de “body building”. Beaucoup d’entre eux élaborent leurs structures.

C’est, dès le départ, effectivement la morphogenèse !

“Morphogenesis I” Sculpture by Addé 2018

“Morphogenesis I” Sculpture by Addé 2018

“Morphogenesis I” Sculpture by Addé 2018

“Morphogenesis I” Sculpture by Addé 2018

“Morphogenesis I” Sculpture by Addé 2018

“Morphogenesis I” Sculpture by Addé 2018

“Morphogenesis I” Sculpture by Addé 2018

“Morphogenesis I” Sculpture by Addé 2018

“Morphogenesis I” Sculpture by Addé 2018

“Morphogenesis I” Sculpture by Addé 2018

“Morphogenesis I” Sculpture by Addé 2018

“Morphogenesis I” Sculpture by Addé 2018

“Morphogenesis I” Sculpture by Addé 2018

“Morphogenesis I” Sculpture by Addé 2018

Each and every structure is composed of elements. How those elements assemble to complete a form, is the fundamental principle of Morphogenesis.

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Chaque structure est composée d’éléments. La façon dont ces éléments s’assemblent pour compléter une forme, est le principe fondamental de la morphogenèse.

Morphogenesis I © Addé 2018 – photos Xea B.

#Morphogenesis 

“Soul Sacrifice”

Sculpture by Addé 2018

Almost half a century ago, Carlos Santana played « Soul Sacrifice » at Woodstock.

Therefore, he stunned the world with a new genre, harmoniously associating different sources, in the foreground, Afro-Cuban and American, yet, strong percussions and rich chords are being evocative of much deeper sources from Africa and voodoo.

The title in itself, quite inspiring, refers to some sort of mysterious rituals.

At that time, Latin music had no access to the Pop-Rock public and was limited to (roughly) South-American countries.

He did not only stun the public, but, literally amazed the world, opening the gates to not only new fields of sounds, but numerous cultures, at that time unknown or neglected.

None better than music to convey emotions, then turn them to sculpture and colours…

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Il y a près d’un demi-siècle, Carlos Santana a joué “Soul Sacrifice” à Woodstock.

Il a donc étonné le monde avec un nouveau genre, associant harmonieusement différentes sources, au premier plan, afro-cubaines et américaines, mais de fortes percussions et de riches accords évoquent des sources beaucoup plus profondes d’Afrique et de vaudou.

Le titre en lui-même, assez inspirant, fait référence à une sorte de rituel mystérieux.

À cette époque, la musique latine n’avait pas accès au public pop-rock et se limitait (grosso modo) aux pays d’Amérique du Sud.

Il n’a pas seulement étonné le public, mais a littéralement stupéfié le monde, ouvrant les portes non seulement de nouveaux champs sonores, mais aussi de nombreuses cultures, à l’époque inconnues ou négligées.

Rien de mieux que la musique pour transmettre des émotions, puis les transformer en sculptures et en couleurs…

Soul Sacrifice © Addé 2018 – photo Xea B.

Soul Sacrifice © Addé 2018 – photo Xea B.

Soul Sacrifice © Addé 2018 – photo Xea B.

Soul Sacrifice © Addé 2018 – photo Xea B.

Soul Sacrifice © Addé 2018 – photo Xea B.

Soul Sacrifice © Addé 2018 – photo Xea B.

Soul Sacrifice © Addé 2018 – photo Xea B.

Soul Sacrifice © Addé 2018 – photo Xea B.

Soul Sacrifice © Addé 2018 – photo Xea B.

Soul Sacrifice © Addé 2018 – (detail) photo Xea B.

Soul Sacrifice ~ Santana

“Soul Sacrifice” Sculpture by Addé 2018

“Remains”

Sculpture by Addé 2018

Travelling through time, as a concept, offers one alternative : the future or the past.

Going to the future would answer to what we know today has become.

Discovering the past would be a quest from what is historically known to what was kept crypted.

Of all the places on earth, Pompeii and Herculanum offer an intermediate state between life and death, as a unique still picture of yesterday, still but lively.

I remember an archaeologist and an anthropologist, as they were taking care of natural mummies kept in the sands for centuries, debating on whether those mummies were objects or human beings. A fascinating ethical debate indeed, but whatever the answer might be, what is found in the ground tells history of the past. Bones, artefacts, traces of any sort, tell us of what we were, what life was, and what is revealed always brings emotions.

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Voyager dans le temps, en tant que concept, offre une alternative : le futur ou le passé.

Aller vers l’avenir répondrait à ce que le présent est devenu.

Découvrir le passé serait une quête de ce qui est connu historiquement à ce qui a été gardé crypté.

De tous les endroits sur terre, Pompéi et Herculanum offrent un état intermédiaire entre la vie et la mort, comme une image unique d’hier, immobile mais vivante.

Je me souviens d’une archéologue et d’une anthropologue, qui s’occupaient de momies naturelles conservées dans les sables pendant des siècles, et qui se demandaient si ces momies étaient des objets ou des êtres humains. Un débat éthique fascinant, en effet, mais quelle que soit la réponse, ce que l’on trouve dans le sol raconte l’histoire du passé. Les os, les artefacts, les traces de toutes sortes, nous disent ce que nous étions, ce qu’était la vie, et ce qui est révélé apporte toujours des émotions.

Remains © Addé 2018.

Remains © Addé 2018.

Remains © Addé 2018.

Remains © Addé 2018.

Remains © Addé 2018.

Remains © Addé 2018.

Remains © Addé 2018 – photos Xea B.

“Remains” Sculpture by Addé 2018

An artwork, a sculpture released nowadays, is potentially vestigial as it might remain through time, until, one day, being exhumed and examined together with emotion, curiosity, and forensic science.

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Une œuvre d’art, une sculpture mise en circulation de nos jours, est potentiellement vestigiale comme elle pourrait le rester à travers le temps, jusqu’à ce qu’un jour, elle soit exhumée et examinée avec l’émotion, la curiosité et les connaissances scientifiques.

“Bass Sola” Sculpture by Addé 2018

Of all the instruments, the bass could be named the back instrument, for two opposite reasons, first because it is the most unpopular instrument, yet it backs any band, essentially.

Regarded as dull, « invisible » when compared with the brightness of frontal instruments, frequently unheard, it becomes brilliant, stunning, moving, when played solo.

Its low/ medium frequencies are close to physiologic sounds, the sounds of life, such as the heart beat, the lungs, et c.

In fact, low frequencies could be healing sounds, soothing sounds, and that is true with colours too.

Colours you don’t see, don’t pay attention to, colours without with, there would be no brightness…

“The bass player’s function, along with the drums, is to be the engine that drives the car… everything else is merely colours.”  Suzi Qatro

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De tous les instruments, la basse pourrait être appelée l’instrument de fond, pour deux raisons opposées, d’abord parce qu’elle est l’instrument le plus impopulaire, mais elle soutient n’importe quel groupe, essentiellement.

Considérée comme terne, “invisible” par rapport à la luminosité des instruments frontaux, souvent méconnue, elle devient brillante, étonnante, émouvante, lorsqu’elle est jouée en solo.

Ses fréquences basses/moyennes sont proches des sons physiologiques, des sons de la vie, tels que les battements du cœur, les poumons, et c.

En fait, les basses fréquences pourraient être des sons de guérison, des sons apaisants, et cela est vrai aussi pour les couleurs.

Des couleurs que vous ne voyez pas, auxquelles vous ne faites pas attention, des couleurs sans lesquelles il n’y aurait pas de luminosité…

“La fonction du bassiste, avec la batterie, est d’être le moteur qui entraîne la voiture… tout le reste n’est que couleurs.” Suzi Qatro

Bass Sola © Addé 2018.

Bass Sola © Addé 2018.

Bass Sola © Addé 2018.

Bass Sola © Addé 2018.

Bass Sola © Addé 2018.

Bass Sola © Addé 2018 – photos Xea B.

“Bass Sola” Sculpture by Addé 2018

Bass is to music what sculpture is to painting. It carves and structures music, turning the air into volumes enhancing colours in space.

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La basse est à la musique ce que la sculpture est à la peinture. Elle taille et structure la musique, transformant l’air en volumes qui mettent en valeur les couleurs dans l’espace

“Taming the untamed”

Sculpture by Addé 2018

Complementary colours are, in fact, the opposite to each other, not the contrary, though, just each one’s other phase.

Associating them in a tentative of harmonisation is a wee step towards not only peace, but a form of co-existence, vibrating with one another instead of fighting, repelling, antagonising each other, all in an approach of respect, regards, and tolerance.

All is a matter of balance, and a balance of matter.

There is no anger in colours, nor in music, nor in poetry, yet there are ways to attain harmony, as if there were steps in the highway, or fast lane in the stairway…

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Les couleurs complémentaires sont, en fait, à l’opposé l’une de l’autre, pas le contraire, mais simplement l’autre phase de chacune.

Les associer dans une tentative d’harmonisation est un petit pas vers non seulement la paix, mais aussi une forme de coexistence, qui vibre avec l’autre au lieu de se battre, de se repousser, de s’opposer, le tout dans une perspective de respect, de considération et de tolérance.

Tout est matière d’équilibre, et équilibre de matière.

Il n’y a pas de colère dans les couleurs, ni dans la musique, ni dans la poésie, mais il y a des moyens d’atteindre l’harmonie, comme s’il y avait des marches sur l’autoroute, ou une voie rapide dans l’escalier…

Taming the untamed sculpture © Addé 2018

Taming the untamed sculpture © Addé 2018

Taming the untamed sculpture © Addé 2018

Taming the untamed sculpture © Addé 2018

Taming the untamed sculpture © Addé 2018 – photos Xea B.

“Taming the untamed” Sculpture by Addé 2018

Most of the original sculptures presented here are conceived as monumental. Should you be interested in commissioning the large version, please contact us.

We appreciate you visiting our gallery and liking it, thank you!
What we value the most are the comments, so please give us your opinion, and share!

“Punctus contra punctum ad Imitatio”

Sculpture by Addé 2018

In music, Contrepoint is a difficult form of musical composition “point against point” and Imitatio “Imitation” is one of the foundations of polyphonic writing, a repetitive pattern, and a particular form of counterpoint.

When associated, they both form a harmony.

A translation, a sliding, from music to a polychromatic volume, is an experimentation of transferring sound perception to another medium.

This piece could actually be played, read as a score, or improvised from, following colours, volumes, and patterns.

Synaesthesia is a condition in which one sense can be perceived by other senses. It may be pathologic but mainly a source of inspiration.

A « strange smell of purple » could be another way to introduce this sculpture, as it offers an invitation to a synaesthetic form of creation.

See also African Score  Writting African music with colors and patterns.

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En musique, le Contrepoint est une forme difficile de composition musicale “point contre point” et l’Imitatio “Imitation” est l’un des fondements de l’écriture polyphonique, un motif répétitif, et une forme particulière de contrepoint.

Lorsqu’elles sont associées, elles forment toutes deux une harmonie.

Une translation, un glissement, de la musique vers un volume polychromatique, est une expérimentation de transfert de la perception sonore vers un autre support.

Cette pièce peut être jouée, lue comme une partition ou improvisée à partir des couleurs, volumes et motifs suivants.

La synesthésie est une condition dans laquelle un sens peut être perçu par d’autres sens. Elle peut être pathologique, mais surtout source d’inspiration.

Une “étrange odeur de violet” pourrait être une autre façon d’introduire cette sculpture, car elle offre une invitation à une forme de création synesthésique.

Voir aussi “African Score” Writting African music with colors and patterns.

“Punctus contra punctum ad Imitatio” Sculpture by Addé 2018

“Punctus contra punctum ad Imitatio” Sculpture by Addé 2018

Punctus contra punctum ad Imitatio sculpture © Addé 2018 – photos Xea B.

“Punctus contra punctum ad Imitatio” Sculpture by Addé 2018

Most of the original sculptures presented here are conceived as monumental. Should you be interested in commissioning the large version, please contact us.

We appreciate you visiting our gallery and liking it, thank you!
What we value the most are the comments, so please give us your opinion, and share!

“The Purple Variation” Sculpture by Addé 2018

An exercise de style based on a variation of violet and a dotting of complementary vibrations playing with the eye sensitivity.

In fact, the perception of colours is limited, not by the eyes, but by the brain.
Schematically, the visual cortex, in the occipital part of the brain, is converting the light vibrations into images and colours.

Although colour-blindness, is a deficiency cause by retinal cone cells responding to light (differently) than normal, the perception of colours rely on cognitive and cultural factors.

The perception of colours is subjective to the brain, therefore, to a cultural patrimony such as, in isolated cultures, some colours do not exist because they cannot be named.

There are very interesting studies about the perception of colours, the brain, and the cultural preponderance of subjectiveness. Amongst them, this thesaurus:

See in Cambridge university Press/ Journal of Linguistics/ Reviews:
Serge Tornay (ed.), Voir et nommer les couleurs. (Publications du laboratoire d’Ethnologie et de Sociologie Comparative, Université de Paris X, Nanterre. Recherches thématiques 2.) Nanterre: Labethno, 1978. Pp. Li+680.

p.s. For colour blindness, check out EnChroma glasses.

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Sculpture “Variation de violet” par Addé 2018

Un exercice de style basé sur une variation de violet et un pointillé de vibrations complémentaires jouant avec la sensibilité de l’œil.

En effet, la perception des couleurs est limitée, non par les yeux, mais par le cerveau.
Schématiquement, le cortex visuel, dans la partie occipitale du cerveau, convertit les vibrations lumineuses en images et en couleurs.

Bien que le daltonisme soit une déficience causée par des cellules du cône rétinien qui réagissent à la lumière (différemment) de la normale, la perception des couleurs dépend de facteurs cognitifs et culturels.

La perception des couleurs est subjective au cerveau, donc à un patrimoine culturel tel que, dans les cultures isolées, certaines couleurs n’existent pas parce qu’elles ne peuvent pas être nommées.

Il existe des études très intéressantes sur la perception des couleurs, le cerveau et la prépondérance culturelle de la subjectivité. Parmi elles, ce thésaurus :

Voir dans la presse universitaire de Cambridge/ Journal of Linguistics/ Reviews :
Serge Tornay (ed.), Voir et nommer les couleurs. (Publications du laboratoire d’Ethnologie et de Sociologie Comparative, Université de Paris X, Nanterre. Recherches thématiques 2.) Nanterre : Labethno, 1978. Pp. Li+680.

p.s. Pour le daltonisme, voir les lunettes EnChroma.

“The Purple Variation” Sculpture by Addé 2018

“The Purple Variation” Sculpture by Addé 2018

The Purple Variation, sculpture © Addé 2018 – photos Xea B.

“The purple variation” Sculpture by Addé 2018

“The Purple Variation” Sculpture by Addé 2018

Most of the original sculptures presented here are conceived as monumental. Should you be interested in commissioning the large version, please contact us.

We appreciate you visiting our gallery and liking it, thank you!
What we value the most are the comments, so please give us your opinion, and share!

“Gris-Gris” Sculpture by Addé 2018

The origins of Gris-gris are found in Africa, Benin, among the Fon people. A few of them, initiates, practicing the “Bo” are creating “Botos” which are called Gris-Gris by the voodoo adepts.
Gris-Gris are symbolic while being physically elaborated according to the intentions and the goals of the owner.
Gris-Gris are immediately connected with the “Iwa” as both respond to very deep, meditated choices of life and objectives.
Marie Laveau, as a renowned Louisiana Creole practitioner of voodoo, was famous for her elaborate constructions of Gris-Gris, very powerful ones.
She has inspired quite a number of artistic renditions among which, the outstanding and fabulous Dr John’s eponym number.
Fon people, also called Dahomey live in the southern part of Benin (called Dahomey until 1975).
They are very closely related to the Ewe people, both members of the Kwa group, and both known for initiating voodoo in Louisiana.
Both Gris-gris and Iwa are related to “Nkisi” which are known as “power figures” that are believed to contain spiritual powers or spirits.

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Les origines du gris-gris se trouvent en Afrique, au Bénin, chez les Fon. Quelques-uns d’entre eux, initiés, pratiquant le “Bo” créent des “Botos” qui sont appelés Gris-Gris par les adeptes du vaudou.
Les Gris-Gris sont symboliques tout en étant physiquement élaborés selon les intentions et les buts de leur propriétaire.
Les gris-gris sont directement reliés aux “Iwa” car tous deux répondent à des choix de vie et des objectifs très profonds et médités.
Marie Laveau, en tant que créole louisianaise de renom pratiquant le vaudou, était célèbre pour ses constructions élaborées de gris-gris, très puissants.
Elle a inspiré de nombreuses interprétations artistiques, parmi lesquelles l’exceptionnel et fabuleux titre éponyme du Dr John.
Le peuple Fon, également appelé Dahomey, vit dans la partie sud du Bénin (appelé Dahomey jusqu’en 1975).
Ils sont très étroitement liés au peuple Ewe, tous deux membres du groupe Kwa, et tous deux connus pour avoir créé le vaudou en Louisiane.
Gris-gris et Iwa sont tous deux apparentés aux “Nkisi”, connus sous le nom de “figures de pouvoir” lesquelles, croit-on, contiennent des pouvoirs spéciaux ou des esprits.

“Gris-Gris” Sculpture by Addé 2018

“Gris-Gris” Sculpture by Addé 2018

“Gris-Gris” Sculpture by Addé 2018

Gris-Gris, sculpture © Addé 2018 – photos Xea B.

“Gris-Gris” Sculpture by Addé 2018

Gris-gris bear an infinity of shapes, colours, and sizes. Yet they mostly come out as polychromatic sculptures.

Dr. John – Gris-Gris Gumbo Ya Ya (1969)

Most of the original sculptures presented here are conceived as monumental. Should you be interested in commissioning the large version, please contact us.

We appreciate you visiting our gallery and liking it, thank you!
What we value the most are the comments, so please give us your opinion, and share!

“Iwa” Sculpture by Addé (2018).

Voodoo practitioners venerate a pantheon of spirits which are called “lwas.”  The term “lwa” comes from the French word “loi,” meaning “law.”  Each lwa represents a law of nature or human condition. Adepts regard and respect the Iwa, do not worship them, yet expect some improvement in their lifes.

Voodoo is a cultural form of the Afro-American religions developed by West and Central Africans populations of Louisiana.

Voodoo was brought to French Louisiana during the colonial period by enslaved Africans from West Africa

They were from various ethnicities and cultures. They were Bambara, Mandinga, Wolof, Ewe, Fulbe, Fon, Yoruba, Chamba, Congo, Ibo, Ado, Hausa, and Sango.

Iwa(s) come probably from the Nkisi, power figures used in Western/ central African cultures.

The term voodoo comes from the French vous deux “you two” as might have pronounced Marie Laveau with her beautiful Louisianian accent, as well as it gives sense to Jimi Hendrix‘s voodoo child…

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Les adeptes du vaudou vénèrent un panthéon d’esprits qui sont appelés “lwas”. Le terme “lwa” vient du mot français “loi”, qui signifie “droit”. Chaque lwa représente une loi de la nature ou de la condition humaine. Les adeptes considèrent et respectent les lwa, ne les vénèrent pas, mais s’attendent à une amélioration de leur vie.

Le vaudou est une forme culturelle des religions afro-américaines développée par les populations d’Afrique occidentale et centrale de Louisiane.

Le vaudou a été introduit en Louisiane française pendant la période coloniale par des Africains esclaves d’Afrique de l’Ouest

Ils étaient issus de diverses ethnies et cultures. Ils étaient Bambara, Mandinga, Wolof, Ewe, Fulbe, Fon, Yoruba, Chamba, Congo, Ibo, Ado, Hausa et Sango.

Les Iwa viennent probablement des Nkisi, figures de proue utilisées dans les cultures d’Afrique occidentale et centrale.

Le terme vaudou vient du français vous deux “you two” comme on aurait pu prononcer Marie Laveau avec son bel accent louisianais, ainsi qu’il donne un sens à voodoo child de Jimi Hendrix…

“Iwa” Sculpture by Addé (2018).

“Iwa” Sculpture by Addé (2018).

Iwa, sculpture © Addé 2018 – photos Xea B.

“Iwa” Sculpture by Addé 2018

Iwas are sorts of guardian angels, they seem to inspire a certain wisdom to their human followers. Some are more powerful than others, each will be chosen carefully.

Litanie des Saints – Dr John

Most of the original sculptures presented here are conceived as monumental. Should you be interested in commissioning the large version, please contact us.

Sculpture by Addé (2018).

Remember me or don’t.

All in all, it has no importance.

Whoever we are, wherever we come from, some day it has to stop.

Many of us have descendants, others do not, yet each generation might be the last one, and will leave a trace, a memento, an enigmatic remain ; here is mine.

We are all star dust…

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Poussière d’étoile

Souvenez-vous de moi ou non.

Tout compte fait, cela n’a aucune importance.

Qui que nous soyons, d’où que nous venions, un jour, il faudra bien que cela cesse.

Beaucoup d’entre nous ont des descendants, d’autres non, mais chaque génération peut être la dernière, et laissera une trace, un souvenir, un vestige énigmatique ; voici la mienne.

Nous sommes tous de la poussière d’étoile…

Star Dust, sculpture © Addé 2018 – photos Xea B.

“Star Dust” Sculpture by Addé 2018

John Coltrane “Stardust” (1963)

Most of the original sculptures presented here are conceived as monumental. Should you be interested in commissioning the large version, please contact us.

We appreciate you visiting our gallery and liking it, thank you!
What we value the most are the comments, so please give us your opinion, and share!

Sculpture by Addé

As the two vacuous kids were wandering by

the giant oyster of delusion, they suddenly

were visited by the loony rabbit of silliness.

A Miraculous Apparition, sculpture © Addé 2018

A Miraculous Apparition, sculpture © Addé 2018 – photos Xea B.

Slideshow “A Miraculous Apparition” Sculpture by Addé 2018

20 photos – Click to pause the slideshow.

“A Miraculous Apparition”
Since he became an art work, looney rabbit wants to be known as Maurice.

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What we value the most are the comments, so please give us your opinion, and share!

“The Triumph of Venus”

Sculpture by Addé 2018

Should mythology still be part of culture, Venus would still be celebrated and stand as a major symbol of femininity in all its broadest sense, if not, as a clear heroine of womanhood.

Immortal goddess, she embodies beauty, desire, love, sexuality, fertility, prosperity and victory.

Therefore, she should stand as the champion of women’s rights, independence, autonomy, and power.

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Si la mythologie faisait toujours partie de la culture, Vénus serait encore célébrée et se dresserait comme un symbole majeur de la féminité dans son sens le plus large, sinon, comme une héroïne évidente de la féminité.

Déesse immortelle, elle incarne la beauté, le désir, l’amour, la sexualité, la fertilité, la prospérité et la victoire.

Elle doit donc se poser en championne des droits, de l’indépendance, de l’autonomie et du pouvoir des femmes.

The Triumph of Venus, sculpture © Addé 2018 – Photos © Xea B.

“The Triumph of Venus” Sculpture © Addé 2018

Dis moi Venus, quel plaisir trouves-tu
A faire ainsi cascader, cascader la vertu?
In “la belle Hélène” Jacques Offenbach composer, Henri Meilhac et Ludovic Halévy librettists.

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What we value the most are the comments, so please give us your opinion, and share!

“Runes”

Sculpture by Addé 2016

Of all the remains, traces, remnants, relics, left by humankind, many cannot be deciphered.

Still, they are the touching signs of a will to communicate, transmit, give sense.

The remote trace of an intention to express « we were there » and, maybe, somehow, an attempt to say «do not forget us».

When Winston Churchill was asked to cut arts funding to help the war effort, he answered, «then what would-we be fighting for».

Although it might be apocryphal, what remains from our predecessors, consists in (per se) artifacts, of which, the most moving parts are artworks, paintings, sculptures, engravings, we approach with the very same senses, the same emotion.

…………………

De tous les vestiges, traces, restes, reliques, laissés par l’humanité, beaucoup ne peut être déchiffré.

Pourtant, ils sont les signes touchants d’une volonté de communiquer, de transmettre, de donner un sens.

La trace lointaine d’une intention d’exprimer “nous étions là” et, peut-être, d’une manière ou d’une autre, une tentative de dire “ne nous oubliez pas”.

Lorsqu’on a demandé à Winston Churchill de réduire le financement des arts pour aider l’effort de guerre, il a répondu : “alors, pour quoi nous battrions-nous”.

Bien qu’il puisse être apocryphe, ce qui reste de nos prédécesseurs est constitué (en soi) d’artefacts, dont les parties les plus émouvantes sont des œuvres d’art, des peintures, des sculptures, des gravures que nous abordons avec les mêmes sens, la même émotion.

Runes, sculpture © Addé 2016 (pic 1) – Photo © Xea B.

Runes, sculpture © Addé 2016 (pic 2) – Photo © Xea B.

Runes, sculpture © Addé 2016 (pic 3) – Photo © Xea B.

Runes, sculpture © Addé 2016 (pic 4) – Photo © Xea B.

Runes, sculpture © Addé 2016 (pic 5) – Photo © Xea B.

Runes, sculpture © Addé 2016 (pic 6) – Photo © Xea B.

Runes, sculpture © Addé 2016 (pic 7) – Photo © Xea B.

“Runes” Sculpture © Addé 2016

The quest for sense is not a-sensitive.

La quête du sens n’est pas insensible.

Most of the original sculptures presented here are conceived as monumental. Should you be interested in commissioning the large version, please contact us.

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“Murasaki” Sculpture by Addé 2018

In honour of Murasaki Shikibu, author of the Genji Monogatari (Heian era XIth century).

Murasaki was an alias, taken from one of the characters then given to the author.

The meaning of Murasaki is the colour deep purple/ violet, hence the sculpture’s polychromy based on this colour, which might appear as a form of brown…

A 1951 Film « Genji Monogatari » director Kōzaburō Yoshimura, sceenplay by Kaneto Shindo.

Another version is (2011) « Genji Monogatari: Sennen no Nazo » directed by Yasuo Tsuruhashi

Murasaki, sculpture © Addé 2018 (pic 1)

Murasaki, sculpture © Addé 2018 (pic 2)

Murasaki, sculpture © Addé 2018 (pic 3)

Murasaki, sculpture © Addé 2018 (pic 4)

Murasaki, sculpture © Addé 2018 (pic 5)

Murasaki, sculpture © Addé 2018 (pic 6)

Murasaki, sculpture © Addé 2018 (pic 7)

Murasaki, sculpture © Addé 2018 (pic 8)

Murasaki, sculpture © Addé 2018 (pic 9)

Murasaki, sculpture © Addé 2018 (pic 10)

Murasaki, sculpture © Addé 2018 (pic 11)

Murasaki, sculpture © Addé 2018 (pic 12)

“Murasaki” Sculpture © Addé 2018

Most of the original sculptures presented here are conceived as monumental. Should you be interested in commissioning the large version, please contact us.

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Tackety Bone

A wee salute to fair bony Scotland, with love.
Sculpture © Addé 2017

Tackety Bone, sculpture © Addé 2017 (pic 1) – Photo © Xea B.

Tackety Bone, sculpture © Addé 2017 (pic 4) – Photo © Xea B.

Tackety Bone, sculpture © Addé 2017 (pic 7) – Photo © Xea B.

Tackety Bone, sculpture © Addé 2017 (pic 9) – Photo © Xea B.

Tackety Bone, sculpture © Addé 2017 (pic 11) – Photo © Xea B.

Tackety Bone, sculpture © Addé 2017 (pic 13) – Photo © Xea B.

Tackety Bone, sculpture © Addé 2017 (pic 17) – Photo © Xea B.

Tackety Bone

A wee salute to fair bony Scotland, with love.
Sculpture © Addé 2017

Ray Charles – My Bonnie

Ray Charles in a 1963 Brazilian Concert, with the original Raelettes & David Fathead Newman on lead Sax.

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Qual Piuma al Vento

Like a feather in the wind

La donna è mobile
qual piuma al vento,
muta d’accento
e di pensiero.
Sempre un amabile
leggiadro viso,
in pianto o in riso,
è mensognero.

Does a sculpture has the power to make you hear music (let us know if it did or not)
Did you sing, hum, or heard it mentally ?

Qual Piuma al Vento, sculpture © Addé 2016 (pic 1) – Photo © Xea B.

Qual Piuma al Vento, sculpture © Addé 2016 (pic 2) – Photo © Xea B.

Qual Piuma al Vento, sculpture © Addé 2016 (pic 3) – Photo © Xea B.

Qual Piuma al Vento, sculpture © Addé 2016 (pic 3) – Photo © Xea B.

Qual Piuma al Vento, sculpture © Addé 2016 (pic 7) – Photo © Xea B.

Qual Piuma al Vento, sculpture © Addé 2016 (pic 8) – Photo © Xea B.

Qual Piuma al Vento, sculpture © Addé 2016 (pic 10) – Photo © Xea B.

Qual Piuma al Vento, sculpture © Addé 2016 (pic 11) – Photo © Xea B.

This is not an endorsement of the contents, just an evocation of a great musical heritage as the character singing is the Duke of Mantua, a womanizer, whose first name could have been Harvey…

Opera composed by Giuseppe Verdi.

The Italian libretto was written by Francesco Maria Piave based on the play « le roi s’amuse » by Victor Hugo.
 

Jussi Björling: Verdi – Rigoletto

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Expect the Unexpected

Sculpture by Addé 2017

Open your eyes to the notion that the world may be more filled
with feelings than most people realize.

Be kind to nature as, fundamentally, nature is kind to you
and you are part of it, nevertheless…

This was inspired by a true story of an English lady, who found, in her well-kept garden, a female bumblebee crawling on the ground.

She took her in her hands and found the poor creature was wingless.

She could not fly at all, being apterous (the bumblebee, not the lady, silly you) so she took her home, fed her, and built her a cozy home.

To her astonishment (the lady’s, not the bumblebee, silly you) some sort of friendship grew up and, obviously, the bumblebee enjoyed their bond and led a happy life, beyond her life expectancy.

This is how and why, fellow humans, we must cherish and respect life, even the tiniest ones, as we are not only sharing the planet, yet, they existed long before us and are our predecessors.

A wee shrew succeeded in surviving the cataclysm that ended the dinosaurs’ reign, yet kept in mind the terror they inspired her.

This is, if you believe in a partial transmission of the memory through DNA, the reason, we (re)created the mythical dragon, in memory of an absolute terror.

Last word before I show myself out : Konrad Lorenz, biologist, zoologist, and Nobel prize, said, in the times it was believed in a missing link (between the apes and mankind) : « I found it! It’s us! »

Expect the unexpected, sculpture © Addé 2017 (pic 1) – Photo © Xea B.

Expect the unexpected, sculpture © Addé 2017 (pic 3) – Photo © Xea B.

Expect the unexpected, sculpture © Addé 2017 (pic 4) – Photo © Xea B.

Expect the unexpected, sculpture © Addé 2017 (pic 5) – Photo © Xea B.

Expect the unexpected, sculpture © Addé 2017 (pic 7) – Photo © Xea B.

Expect the unexpected, sculpture © Addé 2017 (pic 8) – Photo © Xea B.

Expect the unexpected, sculpture © Addé 2017 (pic 10) – Photo © Xea B.

Expect the unexpected, sculpture © Addé 2017 (pic 11) – Photo © Xea B.

Expect the unexpected, sculpture © Addé 2017 (pic 12) – Photo © Xea B.

Expect the unexpected, sculpture © Addé 2017 (pic 13) – Photo © Xea B.

Expect the unexpected, sculpture © Addé 2017 (pic 15) – Photo © Xea B.

Expect the unexpected, sculpture © Addé 2017 (pic 16) – Photo © Xea B.

Expect the unexpected, sculpture © Addé 2017 (pic 19) – Photo © Xea B.

Expect the unexpected, sculpture © Addé 2017 (pic 20) – Photo © Xea B.

“Expect the Unexpected” Sculpture © Addé 2017

All the life forms that have existed until now have their origin in the collision of atoms…

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Monument to the slow fall of the invisible

Sculpture by Addé 2018

Mice are born from dirty rags, the earth is flat and was created 6000 years ago, each one’s destiny is determined by the position of the planets, and the moon is made of cheese.

Those beliefs, among so many, were debuncted by Sapience, slowly fighting ignorance, magics, superstitions, as a fundamental factor of progress (sorry Gromit).

Therefore, the invisible is regressing…

In the 16th century, the Renaissance took place as a (somehow) peaceful revolution which cleared the way to « le siècle des lumières » the age of enlightenment.
Let us hope and make our contribution to the edifice for a second Renaissance.

Monument to the slow fall of the invisible (no regret), sculpture © Addé 2018 (pic 1)

Monument to the slow fall of the invisible (no regret), sculpture © Addé 2018 (pic 4)

Monument to the slow fall of the invisible (no regret), sculpture © Addé 2018 (pic 7)

Monument to the slow fall of the invisible (no regret), sculpture © Addé 2018 (pic 9)

Monument to the slow fall of the invisible (no regret), sculpture © Addé 2018 (pic 23)

Monument to the slow fall of the invisible (no regret), sculpture © Addé 2018 (pic 31)

Monument to the slow fall of the invisible (no regret), sculpture © Addé 2018 (pic 41)

Monument to the slow fall of the invisible (no regret), sculpture © Addé 2018 (pic 42)

“Monument to the slow fall of the invisible (no regret)”

Sculpture © Addé 2018

Let us hope and make our contribution to the edifice for a second Renaissance.

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Sculpture by Addé “The Bleeding Conch”

The Bleeding Conch, sculpture © Addé 2017 (pic 1)

The Bleeding Conch, sculpture © Addé 2017 (pic 2)

The Bleeding Conch, sculpture © Addé 2017 (pic 3)

The Bleeding Conch, sculpture © Addé 2017 (pic 4)

The Bleeding Conch, sculpture © Addé 2017 (pic 5)

The Bleeding Conch, sculpture © Addé 2017 (pic 6)

The Bleeding Conch, sculpture © Addé 2017 (pic 7)

“The Bleeding Conch” Sculpture by Addé 2017

Aurora renews herself every morning, announcing the arrival of the sun.

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Sculpture by Addé “Pinball Weezard”

Too tiny to be a wizard yet, so it shalt be named “the Weezard”

Pinball Weezard, sculpture © Addé 2017 (pic 14)

Pinball Weezard, sculpture © Addé 2017 (pic 12)

Pinball Weezard, sculpture © Addé 2017 (pic 9)

Pinball Weezard, sculpture © Addé 2017 (pic 6)

Pinball Weezard, sculpture © Addé 2017 (pic 4)

Slideshow “Pinball Weezard” Sculpture by Addé 2017

14 photos – Click to pause the slideshow.

Pinball Weezard

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Sculpture by Addé “Sublimation of the truffle”

Tuber melanosporum is the queen of truffles. Such a majesty deserves to raise herself from the ground for her celebration and glory, or at least a monumental sculpture.

…………………………

Tuber melanosporum est la reine des truffes. Une telle majesté mérite de s’élever de la terre pour sa célébration et sa gloire, ou tout au moins moins une sculpture monumentale.

Sublimation of the truffle, sculpture © Addé 2017 (pic 2)

Sublimation of the truffle, sculpture © Addé 2017 (pic 3)

Sublimation of the truffle, sculpture © Addé 2017 (pic 5)

Sublimation of the truffle, sculpture © Addé 2017 (pic 6)

Sublimation of the truffle, sculpture © Addé 2017 (pic 7)

Sublimation of the truffle, sculpture © Addé 2017 (pic 8)

Sublimation of the truffle, sculpture © Addé 2017 (pic 11)

Sublimation of the truffle, sculpture © Addé 2017 (pic 12)

Slideshow “Sublimation of the truffle” Sculpture by Addé 2017

12 photos – Click to pause the slideshow.

Sublimation of the truffle

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Sculpture by Addé “Pin Ball Wizard Trophy”

A Sculpture to be seen as a reduction of pin ball games’ visual language and erratic moves.

That deaf dumb and blind kid
Sure plays a mean pin ball!
Peter Townshend

Pin Ball Wizard Trophy, sculpture © Addé.

13 photos – Click to pause the slideshow.

The Who-Pinball Wizard

Pin Ball Wizard Trophy, sculpture © Addé.

“Pin Ball Wizard trophy” Sculpture by Addé 2017

He ain’t got no distractions
Can’t hear those buzzers and bells
Don’t see lights a flashin’
Plays by sense of smell
Always gets a replay
Never seen him fail- The Who

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“Incantation”

When you are abducted by a chant. From very ancient beliefs that music, songs, have the power to bewitch humans. Mermaids, fairies, have the power to ravish you, to literally enchant you, and this is exactly what inspired music does!

“Incantation” Sculpture by Addé

7 photos – Click to pause the slideshow.

Incantation – David Hicken (The Art Of Piano) Piano Solo

“Incantation” Sculpture by Addé

Le poème n’est accompli que s’il se fait chant, parole et musique en même temps.
Léopold Sédar Senghor

“Incantation” Sculpture by Addé

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“Afrodite, mother of Harmony”

As love is universal, and Aphrodite the goddess of love, this (gentle) pun should be taken as a tribute to African femininity, the power of love, and the beauty of motherhood.

18 photos – Click to pause the slideshow.

“Afrodite, mother of Harmony” Sculpture by Addé

Mythologies tell a lot about cultures, people, civilisations, and history. Sadly they are no longer part of nowadays’ knowledge.

“Afrodite, mother of Harmony” Sculpture by Addé

#motherearth

The Soul of Earth, The Soul of Earth II

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“Gooble Gobble” (the circus is in town)

A tribute to Tod Browning

In memoriam Tod Browning who had the talent, the courage, and the strength to give sense to his films before Hollywood became a Huxleyan medium, with a great deal of plastic surgery, lack of talent, individual and collective abuse.

White collared conservative flashing down the street
Pointing their plastic finger at me
They’re hoping soon my kind will drop and die
But I’m gonna wave my freak flag high, high
Wave on, wave on
Fall mountains, just don’t fall on me
Go ahead on Mr. Business man, you can’t dress like me
Sing on Brother, play on drummer

Jimi Hendrix “If 6 Was 9”

15 photos – Click to pause the slideshow.

“Gooble Gobble” Sculpture by Addé and Poem by Jimi Hendrix – 2017

Any form of abnormality is the repletude of normality and of those believing they are part of it and therefore superior (it feels so good).

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“Purple Haze” Sculpture

Upon the purple haze
Gentle clouds are resting
Havin’ a hell of a time
Being high

Addé

11 photos – Click to pause the slideshow.

“Purple haze” Sculpture and Poem © Addé – 2017

Purple haze all in my eyes
Don’t know if it’s day or night
You got me blowin’
blowin’ my mind
Is it tomorrow, or just the end of time?

Jimi Hendrix

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“The tree of temptations” by Addé

Up the tree are your desires
The blue mana will feed you
The red cup holds a liquid
Welcome to evanescence
Welcome to uncertainty
What feeds you is doubt
What quinches you is a cloud
Doubt is wisdom
Cloud is cotton candy

………………….

Vos désirs sont au sommet de l’arbre
La mana bleue vous nourrira
La coupe rouge contient un liquide
Bienvenue dans l’évanescence
Bienvenue dans l’incertitude
Ce qui vous nourrit, c’est le doute
Ce qui vous désaltère est un nuage
Le doute est la sagesse
Le nuage est de la barbe à papa

17 photos – Click to pause the slideshow.

“The tree of temptations” Sculpture and Poem © Addé – 2017

Original piece for a pair of bronze candle holders.
Subscription price (for the pair) on demand.

Most of the original sculptures presented here are conceived as monumental. Should you be interested in commissioning the large version, please contact us.

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“Peakpoint” by Addé

“Peakpoint” Sculpture © Addé 2017

“Peakpoint” Sculpture © Addé 2017

Most of the original sculptures presented here are conceived as monumental. Should you be interested in commissioning the large version, please contact us.

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Sculpture “Do stones have souls?”

12 photos – Click to pause the slideshow.

Do stones have souls? Sculpture © Addé 2017
Yes they have, and it is purple…

Do stones have souls? Sculpture © Addé 2017

Most of the original sculptures presented here are conceived as monumental. Should you be interested in commissioning the large version, please contact us.

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Sculpture “In memoriam Robert Malaval”

“In memoriam Robert Malaval” Sculpture by Addé 2017

“In memoriam Robert Malaval” Sculpture by Addé 2017

Robert Malaval – French artist (1937- 1980)
https://xea.tumblr.com/search/malaval

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Sculpture – Can you see the light?

“Can you see the light?” 19 photos – Click to pause the slideshow.

Can you see the light? Sculpture © Addé 2017

“Can you see the light?” Sculpture © Addé 2017

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The holy stone (how does it feel?)

“The holy stone (how does it feel?)” Sculpture by Addé 2017
9 photos – Click to pause the slideshow.

When poetry meets sculpture

Comments, writings, critics about Art are quite usual, and, therefore, expected, yet rarely pertinent.
Here is something different when a poet, Manache, freely composed inspired by a sculpture.
We both hope you will enjoy the result..

“Certains ne voient de la vie “que le rose de leurs paupières” (Maurice Tillieux) d’autres regardent, certains voient. Le regard d’un poète est différent: ni analytique, ni critique, il se nourrit de l’oeuvre comme un papillon d’une fleur, se pénétrant des formes et des couleurs pour nous en offrir une quintessence, la sienne.”

The Holy Stone (how does it feel?)

Articles sur le thème de l’Arbre Sacré, Maryse Marsailly
L’arbre sacré, un symbole vivifiant
L’Arbre mythique : fertilité, généalogie et creuset
L’Arbre de Vie, un concentré du Cosmos Vivant
L’Arbre cosmique, l’Essence de la Réflexion

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Sculpture – The Philosopher’s Rock

In China, since the Han Dynasty (206bc–220ad), GONGSHI have been part of the intellectual and spiritual life. «Gong» means spirit, and «Shi» stone.

Since elevation of the mind is not limited to China but universal, it is a pleasant idea to relate the concept to Africa.

As Animism is strongly connected to nature, more specifically to its strangest aspects, and regarding the non-scriptural cultures which prevailed in Africa, this sculpture is a tribute to spiritual elevation, using the peculiar forms created by nature.

Whereas those stones are named «philosopher’s rock/ scholar’s rock/ spirit stone», they are regarded as the embodiment of the transformational powers of nature.

The rocks transcend the abstract and their contemplation connects both to the know world, resembling known forms of people, animals, trees, et c. and the beyond worlds, domain of myth and mythological creatures, spirits, ancestors…

As a non-representational sculpture, this piece stands as a microcosmic world in worlds, most likely as an invitation to mind drifting.

In that sense, it matches, complement, and pair the « ALPHA WAVES » piece, as both relate to the very same approach.

Sculpture “The Philosopher’s Rock” by Addé 2017

Nature being the best artist, a very ancient tradition in Chinese culture, was to keep a remarkable stone to focus on, for philosophical and meditative purpose.
Here is a sculptural form, sled from China to Africa as a tribute to African scholars.

………………..

La nature étant le meilleur artiste, une tradition très ancienne de la culture chinoise,
exposait une pierre remarquable sur laquelle se concentrer à des fins philosophiques et méditatives.
Voici une forme sculpturale, glissement de la Chine à l’Afrique,
en hommage aux érudits africains.

The Philosopher’s Rock

Most of the original sculptures presented here are conceived as monumental. Should you be interested in commissioning the large version, please contact us.

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Sculpture – Monument to the Last Warrior

Of war and peace the truth just twists
Its curfew gull it glides
Upon four-legged forest clouds
The cowboy angel rides
With his candle lit into the sun
Though its glow is waxed in black
All except when ‘neath the trees of Eden.

Bob Dylan “Gates Of Eden”

Monument to the Last Warrior © Addé 2017 (36 photos)

Monument to the Last Warrior

Monument to the Last Warrior © Addé 2017
One day, yes one day, war and warriors will belong to memories…

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Sculpture – Mystery of the Lengola

The three faces/ four eyes Lengola masks, represent the knowledge of the visible world and the invisible world and associate feminine and masculine values.

………………………………

Sculpture – Mystère des Lengola

Les masques Lengola à trois visages / quatre yeux, représentent la connaissance du monde visible et du monde invisible et associent des valeurs féminines et masculines.

Mystery of the Lengola – © Addé 2017

Mystery of the Lengola 

Mysterious and scary three faces/ four eyes Lengola mask contains rich symbols.

Mystère des Lengola

Mystérieux et effrayant trois visages/ quatre yeux, le masque Lengola contient de riches symboles.

#Lengola > Fortune and wisdom of the Lega

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Sculpture – Mass to Energy

Or matter to light, as simply as making fire with wood.
The fundamental difference between art and science, stands in the fact that art brings answers that will lead to questions, when science has this specific ability to find the questions no one has asked before, then find the answer.
Yet, humanity, even in its very early stages, has never stopped wondering and marvelling, therefore progressing…

………………

Ou de la matière à la lumière, aussi simplement que de faire du feu avec du bois.
La différence fondamentale entre l’art et la science réside dans le fait que l’art apporte des réponses qui conduisent à des questions, alors que la science a cette capacité spécifique de trouver les questions que personne n’a jamais posées auparavant, puis de trouver la réponse.
De fait, l’humanité, même à ses tout débuts, n’a jamais cessé de s’interroger et de s’émerveiller, donc de progresser…

Mass to Energy

Sculpture “Mass to Energy” © Addé 2017

A sculpture to show that matter, in fact, does so.
Concepts of mass, of energy, are quite recent.
Yet matter and light backed humanity since the beginning.

Sculpture “De la masse à l’énergie”

Une sculpture pour montrer que la matière importe.
Les concepts de masse, d’énergie, sont assez récents.
Pourtant, la matière et la lumière ont soutenu l’humanité depuis le début.

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African Alpha Waves

All cultures, no matter how different, share common values.

The elevation of the mind is one of them, a fundamental one that obeys the very same principles : a quiet and remote location, a sheltered place, a high concentration.

This art piece expresses, at the crossroad of cultures, this particular state of mind usually called meditation, but, more accurately, alpha waves.

Alpha waves are generated by the brain, mainly from the occipital part, during relaxation, when the eyes are closed.

Although known worldwide, each culture, practising according to each particularities, as seen in famous sculptures, expects different results to occur.

In Africa, elevation of the mind is strongly connected with the cult of ancestors, voyages in spirits’ territories, dialogue with the gods.

This painted sculpture is to express the connexion between African practice and Asian forms of meditation as they both meet therein their spiritual quest.

The strong palette of colours, from dark brown to bright copper, is an illustration of the thoughts’ transformation starting with the ground and well earthed thoughts, to the luminous access to spaces unknown by most.

……………

Toutes les cultures, aussi différentes soient-elles, partagent des valeurs communes.

L’élévation de l’esprit est l’une d’entre elles, une valeur fondamentale qui obéit aux mêmes principes : un lieu calme et isolé, un endroit abrité, une forte concentration.

Cette œuvre d’art exprime, au carrefour des cultures, cet état d’esprit particulier que l’on appelle généralement la méditation, mais plus précisément les ondes alpha.

Les ondes alpha sont générées par le cerveau, principalement à partir de la partie occipitale, lors de la relaxation, lorsque les yeux sont fermés.

Bien que connue dans le monde entier, chaque culture, pratiquant en fonction de ses particularités, comme on le voit dans les sculptures célèbres, s’attend à des résultats différents.

En Afrique, l’élévation de l’esprit est fortement liée au culte des ancêtres, aux voyages dans les territoires des esprits, au dialogue avec les dieux.

Cette sculpture peinte doit exprimer le lien entre la pratique africaine et les formes asiatiques de méditation, car elles se rejoignent toutes deux dans leur quête spirituelle.

La forte palette de couleurs, du brun foncé au cuivre brillant, illustre la transformation des pensées à partir du sol et des pensées bien mises à la terre, jusqu’à l’accès lumineux à des espaces inconnus du plus grand nombre.

African Alpha Waves © Addé 2016

African Alpha Waves © Addé 2016

African Alpha Waves © Addé 2016

Any culture has its ways to elevate the mind.
Nevertheless, besides the different names, beliefs, circumstances, it always requires the same sort of context: silence, isolation, peacefulness, and, most of the time, the background sounds of nature.

This sculpture depicts the elements of such a discipline, therefore, becomes a proper medium giving access to one’s own alpha waves, sometimes called altered states.

……….

Toute culture a ses moyens d’élever l’esprit.
Néanmoins, outre les différents noms, croyances et circonstances, elle requiert toujours le même type de contexte : le silence, l’isolement, la tranquillité et, la plupart du temps, les bruits de fond de la nature.

Cette sculpture dépeint les éléments d’une telle discipline, et devient donc un véritable support donnant accès à ses propres ondes alpha, parfois appelées états altérés.

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Sculpture – Wrestling the Sky

Life being earthy by nature, the sky is perceived as a world beyond, the domain of all mythological entities, the dwelling of the gods, the haven of ancestors and, therefore the expectation of a heavenly after-life under the condition of a well-behaved life on earth, wrestling the sky…

Although regarded variously by each culture, the sky is the « world above » and the major subject of wonder and myths.

In Africa, even though many people living geographically close to each other, beliefs varied considerably.
Yet, there are common themes, characters, gods, recurring in mythologies of the whole continent.

Fundamentally, as in any cultures, the boundary stands between life limited in time, and death, not regarded as an end but as the start of an “after life” generally timeless and taking place where the living cannot access: the sky.

Wrestling the sky means the ambiguous relationship between life (on earth) and after death (the sky) dealing with the ancestry, the fundamental notions of good and bad, the respect of the rules perceived as compulsory and biding.

Walking through the road of life to reach the after-world, many intercessors will act, in positive or negative ways, as helpers or antagonists, in many forms.

Wrestling the Sky © Addé 2016

Wrestling the Sky © Addé 2016

Life is on earth, the sky is the domain of after-life under the condition of a well-behaved life on earth, therefore, wrestling the sky…

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Sculpture – The Cinnabar Fields

Although belonging to the Chinese culture, The Cinnabar Fields defines the field of sexuality both for symbolic and magic reasons.

They are, in fact, naming the mercury ore, regarded everywhere in the world as a strong mystery and a marvel of nature.

The mercury ore is found in deep red colour, considered as the colour of life itself, in connection with blood, the most dramatic fluid.

Then, mercury itself, the liquid metal is the source of many interrogations and wonders.

This colourful sculpture celebrates the many questions both, the ore, and the metal, have been surging since the origins of its discovery, until science could clarify the matter. As one of the strongest mysteries and and all time subject of both delight and fear, let us celebrate mercury!

“The Cinnabar Fields” © Addé 2016

All cultures, all civilisations have been, and still are, confronted with the endless mysteries of nature.

The mercury ore, as a strange stone, has not only been a complete mystery before science could explain it, but a source of magic, fear, and alchemy attemps to crack its secrets.
This dark yet colorful sculpture depicts, all in all, the reality of cinnabar, its strangeness, and its fascinating power.

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The Bleeding Stone is a sculpture celebrating, since the earliest stage of humanity, the mysteries that brought us from fear to science.
A piece of contemporary art which links us, altogether, from our remote ancestors, to what, today, is our quest.
Not The holy Grall, not The Meaning of Life, yet a questionning form less expected than The Spanish Inquisition.

“The Bleeding Stone” © Addé 2016

“The Bleeding Stone” © Addé 2016

Nature remains full of mystery.

This exceptional sculpture by Addé depicts a mystery that has, and still is, puzzling people’s minds.
The stone is an object of worship and devotion.

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Sculpture – Celebrating the Wind

Since the invention of engine, the Wind had been put aside, and, somehow, neglected. Today it is back and, once again, regarded as the main energy resources, non polluting and… free

Long before the sail was invented, the winds were the only carriers of rain as well as the announcers
of important natural events, starting with the direction they blew from.
Praised be the winds !

This sculpture shows highly symbolic values attached to the wind. The shiny warm metal, whether gold or copper which represents wealth, security, and prosperity.
The blue, as for the sky or the life-saving water which are regarded as the fundments of life.
The bended tree. Blown by strong winds, yet resisting with its mighty strength and deep roots.

Then, a small element discreetly hidden, as a tiny sculpture, all round and polished, a white peeble, a potentially neglegted elements, which symbolises the seed, offered by the trees and given to the winds to be carried away to fertile grounds, to grow and multiply as the source of life for all living beings, humans and animals, protecting them with the shadow of its leaves, giving its wood to build houses and tools, and feeding the fire, another fundamental source of life.

Altogether a celebration of the forces of nature, and the strengh of life…

“N’écoute les conseils de personne, sinon du vent qui passe et nous raconte les histoires du monde.” Claude Debussy

“Celebrating the Wind” © Addé 2016

“Celebrating the Wind” © Addé 2016

Especially dedicated to our African friends.

A fine, dramatic, yet colorful sculpture which is a tribute to one of the strongest force on earth and a fundamental source of energy.

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Sculpture – Pride of the Pende

Celebrating the richness and colorfulness of the Pende people, this colorful sculpture symbolises, all in all, the specific Pende style, the polychromy, the masks, all united today as it has been through the times, keeping up memories and culture.

This contemporary sculpture by Addé, is an original art work, influenced by African Arts, paying tribute to long term influences and inspiration between Africa and Europe.

Early XXth century, the « discovery » of African arts drastically transformed arts and expressions, but was soon forgotten as a major influence.

Today’s Addé’s intense work aims at revisiting those influences, reestablishing a strong and fruitful linkage.

T he Pende live in the south-western Democratic Republic of Congo, as well as in the Kasai , and especially in the Kwilu district.
They are culturally close to the Yaka and Suku people, but their art is strongly original.
The Pende are known for their great variety of masks embodying many different characters, a fair number of them being joyful, dancing to the sound of balafons and percussions, making the assembly happy and the children merry.
Dancers traditionally wear colorful masks and « mungandji » costumes made of raffia.

“Pride of the Pende” © Addé 2015
A tribute to the Pende people and their colourful arts.

“Pride of the Pende” © Addé 2015

A tribute to the Pende people and their colourful arts.

More #Pende
> Celebration of the Pende – Mbuya – Pende Kwilu Mbangu – Pende Healing Mask – Healing Dance.

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Sculpture – Fortune and wisdom of the Lega

T he cowry shell has been, probably, one of the oldest forms of currency, and continued to play its monetary role until the 20th century ; Yet, business activities have not completely turned their back on this popular currency.
The further, the better. Inland cultures not only know and appreciate cowries, but precious seashells, as pieces of wonder, magic powers, and beauty.
Out of the common cowries, seashells are regarded as unique, not only for their monetary value, but as object of contemplation and philosophical questionning.

“Fortune and wisdom of the Lega ” © Addé 2015
As many inland cultures in Africa, the Lega are found of seashells.

“Fortune and wisdom of the Lega ” © Addé 2015

As many inland cultures in Africa, the Lega are found of seashells.

More Sculpture #Lega
> Mystery of the Lengola

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Sculpture – The Soul of Earth II

D on’t be afraid, whenever darkess comes out, it is part of the earth’s richness too…
Many African cultures, actually most of them, consider that earth, the ground we walk on, provides answers to all necessities.
Regarded as a mother-goddess of all creatures, she makes plants grow after the rain, she gives life to animals, she keeps the precious water drawn from her inside through wells during the dry season.
She keeps the ancestors in her ground, where they are believed to to live their after-life.
Therefore, earth has a very powerful spirit which rules over life and death.

“The Soul of Earth II ” © Addé 2015

“The Soul of Earth II ” © Addé 2015

What does not come from the sky, is given by mother earth.

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Sculpture – The Ancestor

T he large forest peoples have always attached a particular importance to the skull as the seat of the vital forces. Remembering the deceased ancestor, is not a cult per se, but, in ancient times, the culture was oral, an important memorial object.
The living receive life of their known (and remembered) ancestors and their transmission of cultural inheritance linked to the origins. The ancestors thus become intermediaries between the living and the dead.

“The Ancestor” © Addé 2015
Keeping the ancestor’s skull as a mark of respect and faith.

“The Ancestor” © Addé 2015

Keeping the ancestor’s skull as a mark of respect and faith.

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M arie Laveau (September 10, 1794–June 15, 1881) was a Louisiana Creole practitioner of Voodoo renowned in New Orleans. She had great influence over their multiracial followings. As such, she is a great transmitter of African culture and philosophy, as well as, praised for all her good deeds and humanity…
The very close relationship between very ancient African cults and Christian populations has generated a syncretic religion which blends different cultures in one rich, deep, and colorful fusion.
Together, chants, music, ritual objects, and costumes, even though original, are strongly reminiscent of Africa.

“Tribute to Marie Laveau” © Addé 2015
Voodoo – A tribute to Marie Laveau revived in Dr John’s evocational voodooing song Sculpture

Marie Laveau – VooDoo Queen – Music by Dr. John

Playlist: African Homage / Music:

• Bobby McFerrin “Drive” Live at Java Jazz Festival 2012

• Dr. John Creole Moon: Creole Moon

• Dr. John – Mama Roux

• Dr. John – Gris-Gris Gumbo Ya Ya

• Papa Mali – “Walk On Guilded Splinters”

Dr. John – Angola Anthem

More Sculptures #Woodoo
> Tribute to Marie Laveau – Nkisi – Vous Deux Child

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Sculpture – Nkisi

A Nkisi is essentially a « power figure » which is charged with spiritual energies to fight an illness of some origins, health, but also political matter or seek for justice.
The original sculpture receives various elements to strenghten its powers.
Among them, will be found iron (mainly nails) a piece of mirror, and, what will be later on, with the voodoo, called gris-gris: a small bag containing secret substances.
Each and every component, including colors, are harmonised to increase efficency.

“Nkisi” © Addé 2015

“Nkisi” © Addé 2015

Power figure Nkisi elaborated to fight difficulties.
Nkisi power figure gris-gris.

More #Woodoo
> Tribute to Marie Laveau – Nkisi – Vous Deux Child

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Sculpture – Vous Deux Child

T he cult and culture of Voodoo’s roots are said to be a heritage from Western African groups of Yoruba, Fon, and Ewe.
In fact, it is probably the world’s oldest religion perpetuated since prehistorical times.
Not only a cult, but a way of life, and a philosophy, Voodoo crossed the Atlantic with the African diaspora, and spread from the French-speaking Louisiana, given the name « vous deux» meaning « you two/ you too » as each person is regarded as a member of a whole, and of the Universe based on a « man over matter » principle…

“Vous deux child” © Addé 2015
Voodoo*, the world’s oldest religion, an heritage from Yoruba, Fon, and Ewe.

“Vous deux child” © Addé 2015
Voodoo, the world’s oldest religion, an heritage from Yoruba, Fon, and Ewe.

More #Woodoo
> Tribute to Marie Laveau – Nkisi – Vous Deux Child

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Sculpture – Ekuk

Ekuk” means the forest’s guardian spirit.
For the Kwele, Ekuk lives in the depth of the forest from which he comes out, from time to time, chanting and dancing, with the whole population joining in, rejoycing, and being merry as it is a very positive omen.
The joyful forest spirit comes out of his domain bringing chants and dances.

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“Ekuk ” signifie l’esprit gardien de la forêt.
Pour les Kwele, Ekuk vit dans la profondeur de la forêt d’où il sort, de temps en temps, en chantant et dansant, avec toute la population qui le rejoint, s’esbaudit, et manifeste sa joie car c’est un présage très positif.

Ekuk © Addé 2015

The joyful forest spirit comes out of his domain bringing chants and dances.

L’esprit joyeux de la forêt sort de son domaine en apportant des chants et des danses.

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Sculpture – The Soul of Earth

Many African cultures, actually most of them, consider that earth, the ground we walk on, provides answers to all necessities.
Regarded as a mother-goddess of all creatures, she makes plants grow after the rain, she gives life to animals, she keeps the precious water drawn from her inside through wells during the dry season.
She keeps the ancestors in her ground, where they are believed to to live their after-life.
Therefore, earth has a very powerful spirit which rules over life and death.
Earth, mother-goddess, spirit, life,
What does not come from the sky, is given by mother earth.

……………………

De nombreuses cultures africaines, en fait la plupart d’entre elles, considèrent que la terre, le sol sur lequel nous marchons, apporte des réponses à toutes nécessités.
Considérée comme une déesse-mère de toutes créatures, elle fait pousser les plantes après la pluie, elle donne vie aux animaux, elle garde la précieuse eau qui y est tirée de ses profondeurs par des puits pendant la saison sèche.
Elle garde les ancêtres dans sa terre, où ils sont censés vivre leur vie après la mort.
Par conséquent, la terre est un esprit très puissant qui règne sur la vie et la mort.
La terre, déesse-mère, esprit, vie,

The Soul of Earth
What does not come from the sky, is given by mother earth.

The Soul of earth © Addé 2015

What does not come from the sky, is given by mother earth.

Ce qui ne vient pas du ciel, est donné par la terre mère.

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Birth of a Baobab

The majestuous baobab, the elephant of trees, is also known as « the tree of life » as its fruits contain many life saving nutriments.
But the largest, strongest, most imposing tree, starts its life as a wee, tiny, fragile, sprout, source of many legends and myths.

………………………

Le majestueux baobab, l’éléphant des arbres, est également connu comme “l’arbre de vie” car ses fruits contiennent de nombreux nutriments vitaux.
Mais l’arbre le plus grand, le plus fort, le plus imposant, commence sa vie comme un tout petit, minuscule, fragile, germe, source de nombreuses légendes et mythes.

Birth tree baobab African legend.

 African Homage gallery

Praised be the rain > Summonation > Birth of a Baobab > Healing dance > Semaphoric metaphoric bird

“Birth of a Baobab” © Addé 2015
Birth tree baobab African legend.

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Sculpture – Semaphoric Metaphoric Bird

In Africa, birds are praised as their songs, their behaviour, their gatherings, are augural signs of forthcoming events of importance, such as rain.
Yet , as they fly in the sky, are often regarded as intercessors, mediators, literally pontives between spiritual entities or ancestors, and the people down on earth.
As such, they are expected to visit them in many forms, in dreams, in visions, or as an energetic presence.
They are then perceived figuratively or symbolically, in connection with animism. They are, in the proper sense, semaphoric…

En Afrique, les oiseaux sont célébrés car leurs chants, leur comportement, leurs rassemblements, sont des signes auguraux d’événements importants à venir, comme la pluie.

Pourtant, lorsqu’ils volent dans le ciel, ils sont souvent considérés comme des intercesseurs, des médiateurs, littéralement pontifs entre les entités spirituelles ou les ancêtres, et les gens sur terre.

En tant que tels, on attend d’eux qu’ils leur rendent visite sous de nombreuses formes, dans des rêves, des visions ou en tant que présence énergétique.

Ils sont ensuite perçus de manière figurative ou symbolique, en relation avec l’animisme. Ils sont, au sens propre, sémaphoriques…

Semaphoric metaphoric bird Sculpture by Addé.

Semaphoric metaphoric bird Sculpture by Addé.

Sculptures by Addé – African Homage gallery

Praised be the rain > Summonation > Birth of a Baobab > Healing dance > Semaphoric metaphoric bird.

“Semaphoric metaphoric bird” © Addé 2015

Bird metaphore dream Africa.

So, a sculpture can be at the same time, a sign and a metaphor.

Ainsi, une sculpture peut être à la fois un signe et une métaphore.

Praised be the Rain – Sculpture – Artist Addé

Praised be the rain

In Western Africa, the rain is expected as a necessity and a blessing. The early signs of the forecoming blessing are eagerly watched out. Then it comes… rain is not only the (so much needed) water, it is sounds, smells, chants, laughters, feasts and rejoicements, celebrating life and fertility. Based on a Kuba inspired pattern, this sculpture is the expression of the spirit of Rain.

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En Afrique de l’Ouest, la pluie est attendue comme une nécessité et une bénédiction.
Les premiers signes de la bénédiction à venir sont très attendus.
Puis elle arrive… la pluie n’est pas seulement l’eau (si nécessaire), ce sont des sons, des odeurs, des chants, des rires, des fêtes et des réjouissances, qui célèbrent la vie et la fertilité.
Basée sur un modèle inspiré de Kuba, cette sculpture est l’expression de l’esprit de la pluie.

“Praised be the Rain” – Addé (2015)

African Homage Gallery > Summonation > Praised be the Rain > Healing dance

“Praised be the Rain” – Addé (2015) – Original sculpture

Based on a Kuba inspired pattern, this sculpture carries the symbols of life and fertility.

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It is probable that, at its early stage, humanity was fascinated, not by nature, but its peculiar evocative forms, as well as colors.
Putting them together was, and still is today, a way to strengthen their power.

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Il est probable qu’à ses débuts, l’humanité était fascinée, non par la nature, mais par ses formes évocatrices particulières, ainsi que par les couleurs.
Les associer était, et est encore aujourd’hui, un moyen de renforcer leur pouvoir.

“Summonation” Original sculpture © Addé (2015)
Animism construction mixed media sculpture colorful.

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Amongst the western African cultures, masks are the most emblematic, the most characteristic of each ethnicity.
We entend to create and cast in bronze/ silver/ gold, a series of pendants, each claiming its origins and proper style, starting with the Luba.