Dominique Brebion (AICA Caraïbe du Sud) writes about the Fondation Clément sculpture park in Martinique (Make sure to access the full article and see the photo gallery of the many ismpiring works at this amazing sculpture garden:
You can just take a stroll in the Fondation Clément’s sculpture garden and enjoy the serenity and harmony of this green Eden, listed as a remarkable garden by the French Ministry of Culture. This will already be a happy experience in itself. However, if your artistic curiosity is awakened, you can take a different approach to your walk and the works of art on a series of themed circuits: digital sculpture design, sculpture and mathematics, the relationship between the work and the spectator, reflection as a constituent part of the work, recycling of materials, anthropomorphism and writing in space.
The seemingly more “traditional” sculptures are perhaps the most innovative. Virtual Yoona by Catherine Ikem and Louis Fléri, Silène luminariis sive Muflier de Borgès by Miguel Chevalier, and Heavy Metal Stack Of Six by Angela Bulloch are indeed digital creations. [. . .] The piece by Miguel Chevalier belongs to the Fractal Flowers series. The artist modelled the conditions for life on earth in order to generate complex shapes that were then given material reality using a 3D printer. [. . .]
Angela Bulloch’s polyhedrons, like 218.5°Arc X4 by Bernar Venet, combine mathematics and sculpture. Venet’s sculpture has always maintained a close relationship with mathematics and he engraves the work with the formula of its mathematical identity. He borrows the grammar of minimal art: economy of means, rejection of illusionism and seduction, use of industrial materials and structuration of space.
Some of the works gathered together in this park call out to the spectator, making them active participants to various degrees. Thus, the spectator’s view of Heavy Metal Stack Of Six by Angela Bulloch is affected by the way they move around. Walking around the sculpture disrupts our perception and gives the impression that the shapes are coming to life: we no longer know if the column is in two or three dimensions. The transparent surface of Daniel Buren’s Attrape-soleil aux quatre couleurs (sun-catcher in four colours), covered with stained glass-effect paper, plays with the light, sunshine and clouds. It floods the space with patches of coloured light, as the colour-catcher faces south to capture as much sunlight as possible. The surrounding area is then flooded with coloured halos and the work invites the public to follow the sun’s course around it and over the surrounding landscape, in the manner of a sundial. [. . .] While Huge Sudeley bench by Pablo Reinoso explores the limits of steel as a material and its torsion capacities, it also simply invites the walker to stop at the bench for a moment of contemplation and daydreaming.
[. . .] All this goes to show the diversity of the artistic offerings in this park, which provide a great introduction to contemporary sculpture. If they had but one merit – which is not the case, as they in fact have many – it would be that of demonstrating the extent to which contemporary sculpture is far from being static or unequivocal, but is on the contrary playful, multiple, and likely to provide you with a thousand-and-one different approaches.
[Photo above: Miguel Chevalier’s “Fractal Flower.”]