Cécile Raynal – Sculpture | Artistics.com [Eng Sub]


CECILE RAYNAL
Soul, earth and fire My name is Cécile Raynal,
I am a sculptor, and my studio is based in Normandy. When I started the Fine-Arts, in the 90’s, it was in the midst of
a Conceptual Art period, so I did many performances,
many happenings, and a lot of installations. After the Fine Arts, I left for Africa. In Africa, it didn’t last long, I have to say that life and death
were so close to each other, that suddenly, it questioned the process of the young european artist I was. A rupture occured and I gave up sculpture for a few years. When I decided to get back to it, the only thing that made sense
was the representation of a face, of a body, it was like
the only thing that could hold its promise, in fact,
of the necessity of art. To enter a face the same way
one enters a landscape, the same way one enters a territory, and I realised that this question
could never be finally answered, that nothing looked less like a face
than another face, it was always something
completely unknown. I am rather in this approach of doing because I don’t know yet
what I’m about to do, so I’m doing to have the answer
of what I am looking for. And with clay, there’s
something so malleable, so endlessly reshapeable,
you can both add and remove, there is something,
I can always improvise, and the soil, it’s very practical. I know it, it knows me, and we progress together since a long time and we understand each other. I adapted a method originating from Japan, and that potters brought to the West in the 80’s or 90’s,
which was called Raku, and I only kept the process
of smoke firing. For these big formats, I go up to 1200 °C, I let it cool down to 1000 °C,
and at 1000 °C, I open the kiln, and we take out the pieces at 1000 °C, and we cover them entirely
with vegetable matter in reduction, meaning without oxygen. And we let it sit in the smoke
for two, three hours, and this is what gives my pieces
these shades that are either burned out, or metallic, or even ash-coloured,
with sometimes ochre accents. I don’t have the feeling
I’m doing a very raw work, I am rather looking for something
which could lighten, move, become a little more mysterious. And in the end, I’m intending
for the scultpure I am working on to make me wonder. I use sculpture to explore the world, I must say I have quite
some work to do in my workshop, but it’s also a reason to go
in these human communities, where I couldn’t go without sculpture, immersing myself in human communities,
and going back to the individual, and from the sculpture,
tracing the question of community. In community spaces, at some point,
individuals are erased, by suits, by uniforms. And with sculpture,
I’m going back to the individual, and then I potentially trace recount
a community story. The relationship surrounding
a sculpture is intimate. I’m really interested in people’s lives. My experience allows me to see
incredible human stories. My head is full of lives, and it’s captivating.

One comment

  • baptiste perreau

    Pour information, le liens pour accéder à ta page sur artistics.com ne fonctionne pas. Essaie celui la : http://www.artistics.com/fr/artistes/c%C3%A9cile-_raynal

    Reply

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