Among thoughts: The brain scenery of the studio

c. a. walac. glasgow studio atelier sculptural design

Since graduating, I always worked my may through having a studio. There was a time, before I go art school, where I would work with plaster in our 1.2 square meters bathroom in our tiny Parisian flat. I cannot see myself without a studio. I would not know what to do with all this unreleased energy. The studio is where I drop all my ideas - good ones, bad ones, it is where I connect the mess, with no hierarchy. It is like being able to step inside my brain - enclosed but limitless - with a bit more dust I guess.

I love the ever changing state of the studio. How it gets shaped by the works and ideas lying around and how the scenery switch.

When I moved in, I built a wall that works as storage but its main goal is so I can confront myself to the work. That is a screen where I can face the work and get to know it for its own presence. Because as much as I like things to work together, that is important to make sure the work can stand on its own.

c. a. walac. glasgow studio atelier sculptural design

Making ideas

I am attentive to the connections the pieces can build out from the randomness - almost wrote random-mess here, would it be more accurate? Things happen in the coexistence. Like this accidental throne, made of three drying medallions, stored plasterboard and steel sheet. I do think mess plays a big part. Well, it is not actual mess, it is just things being where they are, as mess would be more like misplaced things. That is the same kind of process than when things you saw suddenly connect and merge in a different way in your mind, when it meets the right activation. That is mostly subconscious, and the same events happen in the studio: you acknowledge random compositions.


Although, as my space is quite small, I have to reset it (read here tidy and reorganise) before every big project in order to have space to deploy the next chapter: taking the story further and exploring different angles. How do I decide what to work on next will depends on: commissions and collaborations, like the one I just finished here for Atelier 27, who commissioned several sets of wall sculpture for a Luxury Collection hotel in Cyprus, opening in March 2019; or which idea I am the most obsessed with and I have to other choice than bringing it to shape otherwise it will haunt me. I do not like being haunted by unrealised
pieces so that makes me impatient but also spontaneous.

I like to draw in full scale because it already has a sense of reality.

Human scale

I have this blackboard which is a central piece. I do not think I could ever have a studio without a blackboard. It has several roles: this is where I drop temporary information, and where I look for dimensions. I like to draw in full scale, because this way it has already a sense of reality. The relief and materials might not be right but at least it is taking the space it demands.

I like to work with human scale. It feels close to the body, this is something you can embrace with a certain sense of equality. There is a direct confrontation. Some times I think I am ruling the shape and other times the material is ruling me. And as I am about to release some furniture pieces soon, it makes even more sense: it is thoughts from the body for the body.

c. a. walac. glasgow studio atelier sculptural design
c. a. walac. glasgow studio atelier sculptural design
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