" Marc Laffolay sculptures in which the vertical and the circle are frequently represented as parts of a same breath, attract the eye as well as the hand. Soaring and graphical his works interpellate the eye, the memory and the light. They redefine space by creating a world of their own.
His sculptures seem to emanate from the deepest of our earth and our cultures. Revealed, they resonate with our history and our present.
The tactile dimension is inextricably linked to his work. This raw sensuality transcends forms and volumes to make them truly exist.
Presence is strong. And the connection is being created. This strength operates. Both simple, serene and invigorating. It is intended to our truest and most original dimension. "
Warp and weft.
Point, counterpoint. Preludes and fugues.
Notes, chords and rests.
Jazz, Gregorian chant, rok, baroque ... and all music.
Dance - Writing and calligraphy.
For a return to the essential.
The warp is this basis made of vertical lines, some kind of a music score on which the weft of notes and rythms will be calligraphed, and then pruned, until momentum and breaths are revealed.
Pruning is the right word.
All begins with these lines, these vertical lines always pushed on the paper with the pen or with the brush soaked with India ink. Just as thrown fingers, both anchored and taking flight.
The quest of a hand that scratches and prints these lines in the wood.
Profusion: Notes are coming. Horizontal. In bunches, bursted, grouped, tight, jetties. Words are coming, which graft themselves, which fix themselves.
Pruning: Rests and silences, notes and words to be erased, redefining the space, revealing the movements. Trying to preserve and to keep the essential. To me this is the moment I really begin to sculpt.
Pruning is the right word
I just try to sculpt silences
" I've been seeking, weaving, drawing for years. Soft wood or ink lines mingle and intertwine. The study of techniques and research in contemporary textile design has gradually opened my mind to a more flexible different, freer approach. This study and experiments usually go through the ink drawing. I use various means, brushes, wooden sticks, feathers, ... This passage through drawing naturally built my interest in calligraphy, its techniques and its philosophy, as for Ikebana, and its language. I think these meetings, mingled with readings and music, give me both the momentum and freedom necessary for this quest for balance and movement that to me help to reveal the essential
I want my sculptures to be like landmarks. A milestone, a source, a pause, or a sounding board.
I want my sculptures to capture the moment and offer to those who look, to meet and to exist by making them exist. "
" There is the eye and there is the hand. I like to think that the hand visits what the eye sees, and that life is palpitating under this hand. "