Laboratoire-Oratoire
Richard Colin defines practice of sculpture like an alchemical process that allows material transformation, in the strongest sense. So his diploma was called Laboratoire-Oratoire, which refers to the idea of experimentation, but also at prayer and worship's. In the center, a Foyer, a sculpture that uses the visual codes of the oven : made with clay, concrete and paper, this art piece reminds us as well ancestral bread or ceramic ovens as Vulcain's forge. Above this oven, was installed a leaden sky, a vault paradoxicaly titled Creuser. Titles are important, because the gesture of « creuser » ( to dig) refers to another sculpture, to a (crucible) Creuset, container capable of receiving the highest temperatures therein. And Richard Colin seizes the semantic scope of these terms that he brings to the cross, geometric figure highly charged in religious and esoteric symbols.
Not far from here, a shelf support test tubes in wich free and stringy forms appear: it is actually rosin first raised to high temperature, wich, in contact with water, freezes in its movement. This is a crystallization, an unexpected and umpredictable formatting. And Richard Colin claims as a practice that materialize a gesture, give life to an energy. Claiming as well from Brancusi as from Anish Kapoor, he tries to make the connections between western and eastern logics, while praising a mystery of creation and the emergence of new forms.
- Léa Bismuth
Art critic
Not far from here, a shelf support test tubes in wich free and stringy forms appear: it is actually rosin first raised to high temperature, wich, in contact with water, freezes in its movement. This is a crystallization, an unexpected and umpredictable formatting. And Richard Colin claims as a practice that materialize a gesture, give life to an energy. Claiming as well from Brancusi as from Anish Kapoor, he tries to make the connections between western and eastern logics, while praising a mystery of creation and the emergence of new forms.
- Léa Bismuth
Art critic