Rectangular architecture and urban design have so saturated our vision that we tend to feel disoriented in an environment made of tilting planes or ambiguous curves. The eye, our all-powerful detector of the surrounding world, is able to mislead the key sensor of gravity, the ear's labyrinth. Naturally, my real aim has been far from physical or psychological manipulation of the spectator. What led me to develop this range of forming devices was the need to express some of my vital interests. I am a great believer in the power of form as a probing tool for understanding reality.
Waves are the form of motion in fluids, or rather of interfaces between moving fluids.
It should be noted that waves and series of vortices, my most frequent sources of inspiration, are periodic or cyclical phenomena, like walking. Ultimately, I wish to express in my sculpture the various forms of fluidity which appears to be the constant state of matter. The predominant formal idioms of the '60s, Minimalism and Serial-Systemic Art, were clearly incapable of this task. Thus without realizing it, my sculpture became itself an interface between air and earth, as if the ground were a moving fluid and the sculpture its surface. My formal language is gradually expanding in various directions.