Caroline Brisset

Through sculpture, installation and display, as a craftsman, an artist or a designer, I am a metal worker — We don’t care status when we speak about matter. I tirelessly try to modify the invisible particles of steel. To cause a shift in the habit, I especially try to move the atoms to the limits of their capabilities. I look for contradiction between act and shape, and try to feel through my sculptures that this material is discontinuous, fragile, full of emptiness, and both very dense, heavy, and bulky. Find a breath in the inert mass. In doing so, I often unconsciously seek that the appearance of the material is in conflict with its composition. They are not representations of ideas or feelings, but tangible expressions of the very metal — its shape, its volume, its temperature, its balance, poetics which emanate. Every form is moving, in a short-lived balance. Any change is a disaster, and any disaster a resurrection. I handle metal, trying to reveal its inherent energy. I try to consider all its properties. I explore its limits, its physical possibilities. I heat it, pound it, twist it. I try to make it say something itself. This may be a feeling of intense heaviness, or on the contrary a delicacy, an unusual fragility, or otherwise an imbalance which by posture and shape disturbs. It’s an open dialogue with the material. Then, the formal capacities are revealed in a material that becomes an object marked with a singular identity, which sometimes comes within organic and living.