The subject of my current exhibition at the Arcanes gallery in Paris is once again nature, in its immensity with landscapes, in its intimacy with animal themes or fruit epidermis. The tools used to express these themes are the ceramic phenomena of fusion, crystallization, boiling or surface tension.
The "Venus", or as we should say, the "Lady" of Lespugue displays a naked body whose hypertrophied forms, born from ivory through the mind and hand of a sculptor, have since its discovery contributed to an abundant scientific, artistic and even poetic literature. If prehistoric statuary sometimes has some aesthetic surprises for us, either because it displays its naturalistic pretensions, or because it claims a deliberately schematic expression, it seldom offers such an expressive modernity. So much has been said and written about this old lady - good manners should keep us silent about her age - but even after about 25,000 years, she still shows that the breath of eternity which animates her could fire up our inspiration. But we cannot remain coy in the face of this ideal representation of a woman that defies all anatomical sense. Therefore, we propose in these few lines to lift a corner of the "veil" or the "loincloth" which has never hidden anything of its reinvented nudity.
The study presented here concerns the search for the internal geometry of Christ carrying the cross. This approach is based on the methodology we have developed previously and confirms its relevance. It highlights a constructive action similar to those developed by Leonardo da Vinci.
Our article proposes to examine three distinct Cold War periods in the light of apocalyptic Hollywood films produced and broadcast in the same three periods. What are the concrete intimate and direct links between a political, ideological and military conflict and its immediate cinematographic representation? How do the script, the choice of format (B&W or color), the choice of the decor, the costumes, the soundtrack, the actors and the staging, inform us about the precise state, at a given moment, of the belligerent relations between two states? How do these aesthetic elements inform us about the political positions of directors, when censorship is at its highest intensity?