Delphine Brabant – Sculpture | Artistics.com [Eng Sub]


Delphine Brabant
Opposing force I am Delphine Barbant, sculptor. I live and I work in the Paris area. I come from a family where we all have
an artistic expression. I am self-taught woman
and I have worked for nearly 20 years. I really wanted to sculpt,
because of my interest for the material. I love the volume in space. Working with the material was,
for me, a priority. I started with living subjects, then moved to a more personnal work caracterized by groups of humans, higher and taller human groups, marking an ascension,
a verticality that, slowly, projected to something vegetal,
like a forest. A forest of beings. After finding inspiration
in these groups of humans, came the idea of an architectural form. I wanted to create volume to work
with positive and negative spaces. I like to combine two materials,
like plaster and metal, in search for light, where the metal projects itself
upon the white plaster and casts a shadow
that makes the piece vibrant. In my work, there are always
two opposing ideas. Strength and fragility. The full and the void. Light and darkness. Balance and imbalance. The two opposing ideas have been present ever since the beginning of my work,
and today still. Inspiration comes, of course,
from nature, the city, the architecture, the buildings. In these blocks, there is also
the concept of window. Window being linked to perspective. My latest piece, named “Arche“, actually represents this idea of window. The drawing isn’t perfectly square. It is on purpose that I choose
not to make perfect shapes, but, above all,
these simple, full shapes, create the drawings from the empty spaces. I am very demanding, demanding in my work,
to make perfectly drawn, balanced planes, with simple and pure lines. I truly put all my heart into this work because it is, in a way,
an essential part of my work. Through drawings, models and research
I come up with a shape. And this shape is harmonious
when it is balanced. The notion of equilibrium is important because
it marks the end of the piece. A piece of work is only harmonious
when balanced. I think that there is a large part
of pure madness in the work as well as a certain mastery. There’s technique, yes,
but when I research there’s always a notion of
“I know where I’m going.” But there’s also that part of madness that never ceases to surprise you
with what you’ve done.

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