Drawing and modeling, the infancy of the art and the art of childhood
The economy of means required for drawing or modeling and the infinite possibilities of creativeness offered by these mediums explain why they were undoubtedly the first to be used at the dawn of humanity and are universally practiced by children. As soon as the hand acquires sufficient skill it seems inevitable that it becomes a tool to trace and knead once it comes into contact with the appropriate tool or malleable raw material. Each one of us at the beginning of its life experiments forms of innate creative actions by exercising its power of imagination on the blank page or the shapeless mass of clay.
It is unfortunate that after a certain age, drawing and modeling are activities simply abandoned in favor of other artistic expressions much more difficult to control and which often lead to discouragement for most of us. The pleasure of creating through these easily accessible mediums leads to results immediately enjoyable but is eventually forgotten and considered childish. The scribbles and rare artifacts in clay having miraculously escaped the moves (or simply ritual of spring cleaning) are true survivors of the lost paradise of our childhood. They demonstrate a compelling desire to create which used to be common to us but ultimately that only the lucky or stubborn, managed to maintain against the performance requirements of the educational system and the relentless needs of adult life. As evidenced by some childish productions (admittedly rare, but the fact seem to proved me right) the value of a work does not necessarily depend on either the age of the perpetrator or the technical difficulty. Despite the artistic lack of clearly identifiable conscious intention, the results are sometimes quite remarkable from the point of view of the spectator. Concerning drawing, many artists visibly try to find a certain innocence while attempting to delete everything they have learned over the years, considering that knowledge as a burden, a straitjacket. This ambition is undoubtedly driven by the certainty that everything was possible in the first and remote experiments. After having both practiced and stubbornly sought what could be a good drawing, I know now that the temptation of returning to the origins in order to discover a secret door is almost irresistible. It seems to the contrary impossible for me to succumb without drifting towards the artificial and hypocritical. How to imagine ignoring everything that has been a long learning without a share of simulation?
In my drawings, my intention has always been to achieve a balance or allow an ambiguity between technical progress as well as intellectual that I could reasonably deny and question the same sheet of paper so as not to stifle creativity by the quest, vain in itself of virtuosity. Yield to the great attraction of a proposal such as a trip back in time to start from the beginning and discover possible hidden treasure is only possible, it seems to me, by exploring virgin territory with the appropriate medium. Resume modeling could offer me this opportunity as my last malaxages were dating from childhood with the notable exception of a figurine which I changed the head with plasticine a few years ago and which was to serve me as a memory aid (fully preoccupied with achieving results through drawing the object was like the promise made to myself to dedicate time to the third dimension whenever I would have the opportunity without knowing at that time why or how). When I actually passed to action and acquired the modeling material, it was not through feigning naivety or mimicking patterns of childish acquisitions of the medium, but more prosaically to bring things back to the very state of little expertise I left it at the age of six or seven years! The mystery of the origins of the raw creative impulses remains impenetrable but we can try to lift the veil seeking to maintain a primitive mode of appropriation of the material as do the children and did the first homo habilis.
It is vain to think that it is interesting to of exploit the "simple" midrange capacities of the medium without alternating with the most sophisticated production possible and showing all intermediate stages. This is the entire process that must be made visible by performing successive attempts of both regression and prospective. Two opposite experimental attitudes reinforce each other at the end of the intellectual analysis and the brain is better able to let go back to instinctive mode and vice versa. There are also hybrid achievements involving the two steps and that are somehow chimeras operating in a third world where conflicting forces create a new synergy.