Home V2 - Giloz Art | Sculptor - Paris and Grenoble

Plastic sculptor

Shaping Color, Sculpting Emptiness

In European artistic tradition, whether in building architecture, statuary, or paintings, color has essentially been incorporated through the use of pigments ground into powder and mixed with binders.
For several years now, I have been committed to playing with the materiality and energy of pigments—whether metal oxides or earths—and unleashing their potential. I use them as they are, without the organic animal and plant binders that constrain them and eventually mask them as they age. My overall approach is to create harmony, beyond words, 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 the material, which I perceive as inhabited by a form of "consciousness." It reflects a fruitful interaction between the consciousness of the material, embodied in its own phenomena, and my consciousness as a human being in the universe, within a tiny grain of space-time.

My work is mainly organized around three major areas of exploration:

Shaping color as matter
Sculpting emptiness as energy
Composing animated, embodied life

It's the way I work and situate myself with sincerity in relation to the notion of life, space, time, energy and matter. And how I engage with the contemporary artistic debate in sculpture, painting and music. So many practices that 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.

My artistic approach

My three artistic commitments are as follows:

#ColorMaterial

I model color as a material. Most of the time, what we call "color" is actually a mixture of original materials with a colored indication included in various binders, such as linseed oil, acrylic resin, epoxy, gum, honey, skin glue, ox gall, egg, etc.

These "material binders" age in their own way, becoming opaque (like 80% of the paintings in the Louvre). In addition, they form a layer that distorts the purity, freedom, and sensitivity of the "material color." For my part, my spirit of introspection has guided me toward researching the use of these original colored materials without altering their organic essence and the luminosity of the color signal with a binder.

Creating directly with "color matter" is a gateway and a new territory for contemporary art. I therefore do not use colored binders in which color as a material is denatured in powder form and heavily diluted in the binder layer.

Nor do I use color to highlight form or to serve form. I do not "patina" form; it is the opposite. By using "color matter," I conceive of forms as supports for "color matter" and create nuances by allowing phenomena specific to "color matter," finally freed from traditional binders, to express themselves.

Yves Klein explored this vector through blue, with issues of pigment stability. With the infinite respect I have for Yves Klein, I use all the colors of the world by inventing systems of color/support osmosis. My scientific background is more than useful here.

Discovering new vectors and media for art and introducing them to 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 energy 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.

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#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.

#Sources of inspiration

giloz@giloz.art