Shapes, movement, materials, and creations

Restoration work requires research and planning to define the historical context, analyzing the piece in question with art historians, conservators, and scientists to determine the procedure, techniques, and materials that will recapture the original esthetic intent while to restoring the artwork’s physical integrity. The very meticulous procedure imposes strict conventions that require putting one’s heart and soul fully into the process as well as working full time for several months to complete.

“When you switch from one era to another, it always takes a bit of time to adapt; you need to start from a blank slate every time.”

Each project requires mental acrobatics, like when Philippe finished restoring an Oeil de Boeuf anti-chamber in the Palace of Versailles right before moving on to refurbish an altarpiece for a church: a complete about-face and change of décor.

Beyond this type of extremely well-defined project, Philippe thrives in the total freedom offered by creating his own unique works of art. This necessary balance provides the creative inspiration every artist needs. “Creating is a breath of fresh air.”

Modeling for preparation helps to define the shape and contours, and find the right proportions and interpretation before starting to work the preferred medium, wood in this case for Philippe.

“In the end, the sketch always plays an extremely important role, from start to finish. Sculpture is 99% drawing and sketching.” Among this sculptor’s favorite motifs and techniques are statues, human and animal figures, in the round, and relief. And yet, Philippe only works by order, an artisan artist of his art. First a theme, then an intention, and then comes an inspiration. Purely decorative, ornamental, or floral, figurative or representative, each motif has a backstory, the one provided by the buyer. To this backstory the artist adds his heart, creativity, and imagination to bring the idea to life.

To view and learn more about Philippe Duret’s work as a sculptor, the door to his workshop in Aviernoz is always open to art enthusiasts, the curious, as well as those with a project or a specific aspiration.

Open the door and step inside; viewing Philippe’s amazing variety of motifs is an experience you will not soon forget. His talent shines in attention to detail to every volute, every curve, or capturing the suggested movement of drapes or clothing. In his dedication to each movement the material takes form as the artist’s eye interprets the contours.

Philippe Duret

And from the very start she committed to an environmentally-friendly approach to every process and procedure used when sculpting. “I always wanted to create using materials at hand, with the idea of recycling what I already have.”

This is how Vanessa developed her favorite technique, a mixed approach using steel rods for a sturdy metal frame that serves as a skeleton, and then compressing and gluing a mix of papers to the frame for volume, the latter providing the sculpture with its full form. Mixing, wrapping, and fixing this mix of paper and glue, as well as adding a bit of ceramic creates a balance between the lightness of being desired and the sturdiness of the work of art. Based on the roughness of the surface she adds color to create a bronze sculpture glistening effect.

Form this initial premise, Vanessa found her own unique style. The long, slender, curved figures, feathery light and delicate in appearance, seem to gracefully fly along the edge of a dream world.

“With paper, I feel like I can escape gravity, doing away with the notion of weight altogether; paper’s inconsistencies allow me to create the effects and texture that give character to the materials.”

Once the surface is painted, the folds and cracks provide a patina effect, with blue and golden hues offering so many nuances in color.

Truncated Greek and Etruscan statues created centuries ago figure among Vanessa’s influences, a nod to her focus on archeology for her doctorate. Such modern sculptors as Rodin and Camille Claudel influence her style, in addition to contemporary artists like Alexandre Calder; although she never uses them as a substitute for her own creativity.

Vanessa limits how much she assimilates, keeping an open mind to remain unique, while obsessing over forms and movement. This explains the dancing figures that populate Vanessa’s world: characters perched on their swings, mobiles swaying back and forth to the cadence of the wind, as well as bestiary of slender animals on the move.

And once again, sketches and drawings are the impetus before the time comes to sculpt, which sometimes takes the intended piece in another direction.