Shaping Color, Sculpting Emptiness
Transparency as language, steel and resin as energy medium.
My work explores the light, energy and life that permeate the universe. Through metal, resin and glass, I seek to capture the invisible, to reveal the flows and vibrations that animate our reality.
Each sculpture is a form created in suspension, where color pigments, metallic or rocky debris, constitute fragments of energy, unique bursts of movement traced in time and space.
The written language used to present a total approach is, in my opinion, ill-suited to the task. This language often enters into contradiction or tension with the language of reality itself, which merges with that of art. It's probably even rather pointless, if only to share it partially. To briefly outline my trajectory, I would say that my work is organized around 3 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 via organizations such as companies. Because art, like human relationships, work or, more generally, any activity whatsoever, is a human being's psychic need. All the more so for the artist, for whom the sale of his works essentially represents the means to create his next piece, in order to "persevere in his 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.
#inspirations
#ColorMaterial
I model color as a material. Most of the time, what we call "color" is in fact a mixture of original materials with a color indication included in various binders, linseed oil, acrylic resin, epoxy, gum, honey, skin 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 "material color" is a doorway and a new territory for contemporary art. So I don't use colored binders in which the color as matter is denatured in powder form and heavily diluted in the binder layer.
Nor do I use color to enhance the form or to serve the form. I don't "patinate" form, it's the other way around. By using "matter color", I conceive shapes as a support for "matter colors" and create nuances by allowing the expression of phenomena specific to "color matter" finally freed from traditional binders.
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.
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#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.
Copyright © 2025 Giloz