Plastic sculptor
Shaping Color, Sculpting Emptiness
For several years now, I have affirmed my commitment to playing with the materiality and energy of pigments—whether they be metal oxides or earth pigments—and to unleashing their potential. I use them as they are, without the animal and plant-based organic binders that constrain them and eventually even mask them as they age. My overall approach is to create a harmony, beyond words just as in European musical art, half abstract and half figurative, based on the material and colorful vibrations of the pigment ranges.
This harmony is the result of a dialogue with matter, which I perceive as imbued with a form of “consciousness.” It reflects a fruitful interaction between the consciousness of matter—as it manifests itself through its own phenomena—and my own consciousness as a human being in the universe, within a tiny speck of space-time.
My work is primarily organized around three main areas of exploration:
- Shaping color as matter
- Sculpting emptiness as energy
- Composing animated, embodied life
My artistic approach
My three artistic commitments are as follows:
#ColorMaterial
I work with color as a material. Most of the time, what we call “color” is actually a mixture of raw materials with a colored hue, incorporated into various binders such as linseed oil, acrylic resin, epoxy, gum, honey, hide glue, ox gall, egg, etc.
These "material binders" age in their own way, opacifying (as do 80% of the paintings in the Louvre). What's more, they form a layer that perverts the purity, freedom and sensitivity of "matter color". For my part, my spirit of introspection has guided me in my search to use these original colored materials without altering their organic quintessence and the luminosity of the colored signal through a binder.
Creating directly with "color as a material" opens the door to a new realm of contemporary art. I therefore do not use colored binders, in which color as a material is altered into a powder and heavily diluted within the binder layer.
Nor do I use color to highlight form or to make it serve form. I do not “patinate” the form; it is the opposite. By using “color-matter,” I conceive of forms as a medium for “color-matter” and create nuances by allowing the phenomena inherent to “color-matter”—finally freed from traditional binders—to express themselves.
Yves Klein had explored this vector using blue, with problems of pigment retention. With infinite respect for Yves Klein, I use all the colors in the world, inventing systems of osmosis between colors and supports. My scientific background is more than useful here.
Discovering new vectors and media for art and sharing them with the world is very exciting for me. I often imagine Jan Van Eyck inventing his linseed oil binding technique and changing the world of painting. In the shadow of these greats, I bring my own dynamism and contribution.
#EnergyVacuum
All matter in nature is the trace of latent energy, internal or in motion, a veritable teeming of life and tensions between elements, between visible and invisible matter. What we call the void is full. Air, for example, is the seat of a circulating energy, of colors, waves and materials that constantly pass through it and ricochet off the walls around it. Through my work, I strive to convey the idea that what is empty is full. Conversely, we know that what appears full to our senses on our scale is in fact empty, and even emptier than emptiness. Full is empty. I like to reveal this and make a work of it, like the "visible/invisible" game. By sculpting the void, I sculpt the full.
Another aspect of my approach is my relationship with the visible. The matter and light we perceive represent only 4% of the universe. We know, through their cosmic effects at the limits of our galaxy and the universe, of the necessary existence of dark matter and dark energy, which make up between 26% and 70% of the apprehensible. In other words, most of the universe is unknown, unapproachable, invisible and imperceptible to our senses. My works are also intended to be a gateway to this invisibility, at least in its apprehension.
AnimaBody
Color modeled in space as matter on abstract or semi-figurative forms, and emptiness sculpted in transparent matter, resonate in a strange, new harmony. They create a tactile and visual sensory shift conducive to reconsidering our embodied, animated body in infinite space and duration, our particular link to the living, our incomplete perceptions, our own times, our desires, our consciousness and our free will.
#GilozNews
Inspired by nature and organic structures, my work questions the boundary between the tangible and the ethereal, between the material and the immaterial. Playing with light, my works come to life depending on the viewing angle and environment, engaging in a perpetual dialogue with the space and the viewer. In this respect, the nature of rhythm is an intrinsic difference between sculptural work and musical art, the former created by the spectator himself through his emotions, his movements, his looks and his touches, and the latter created essentially by the musician.
My approach is also a quest: to make visible the energy that surrounds us, to give shape to the intangible and offer a poetic vision of the living. I play with the mastery of chance, lightness and power.
#Tables
#Drawings
#Sketches
#Biography
Giloz was born in 1960. He works in his studio in Paris and in his studio in Grenoble. His artistic and technical approach has always been committed to the community, and he has pursued two parallel and interdependent paths:
A career as a painter and sculptor-plastician: exhibitions at Galerie Forsale in Paris in 2015, Les Frigos in Paris since 2022, New York Art Expo in April 2025, Art Basel in June 2025, Swiss Art Expo in August 2025, and in private collections
-A career as a performer-engineer until 2022: founder of successful disruptive companies in the environment and energy sectors.
His background:
Nouvel Atelier des Beaux-Arts de Paris
-Ateliers du Louvre
-Design Akademie Eindhoven
-School of Engineering
For sculpture, he uses a variety of techniques: clay, steel, metal, resin, plaster, Florentine bronze, etc., and for painting, mainly acrylic or oil on canvas. Ambidextrous, he likes to work in parallel dynamics.
This is how I work and how I sincerely engage with the concepts of life, space, time, energy, and matter. It is also how I contribute to the contemporary artistic discourse in sculpture, painting, and music. All of these practices paradoxically share a common vocabulary, such as: “tonality,” “scale,” “chromaticism,” “color,” “harmony,” “rhythm,” “composition”…
Present in the city, I share my creations directly or through organizations such as businesses. Because art, like human connections, work, or any other activity, is a psychological need for human beings. This is especially true for artists, for whom selling their work is essentially a means to create their next piece in order to "persevere in their being."
Inspired by nature and organic structures, my work questions the boundary between the tangible and the ethereal, between the material and the immaterial. Playing with light, my works come to life depending on the viewing angle and environment, engaging in a perpetual dialogue with the space and the viewer. In this respect, the nature of rhythm is an intrinsic difference between sculptural work and musical art, the former created by the spectator himself through his emotions, his movements, his looks and his touches, and the latter created essentially by the musician.
My approach is also a quest: to make visible the energy that surrounds us, to give shape to the intangible and offer a poetic vision of the living. I play with the mastery of chance, lightness and power.
Copyright © 2025 Giloz