International Museum of Contemporary Sculpture

The sculpture is consistent with Klessinger’s previous work, encouraging the interaction between contrasting materials.

These local elements of ancestral resonances establish a complex relationship and generate a particular environment, prone to a symbolic experience of space.

The sculpture resembles initiation circles of prehistoric cromlechs, where rough menhirs stand upright in circles, for the worship of stars and nature.

By opposing the rough brutality of some materials to the weightless delicacy of others, it creates an atmosphere reminiscent of religious rituals and tribal gatherings.

Josep María Camí’s sculptural discourse is permeated by certain aspects of archetypical primitivism, further underlined by the presence of archaeological and ancestral signs.

The sculpture presents itself as a long, slightly curved cone, made up of four sections, that resembles conches and animal and hunting horns, ultimately alluding to archaic sculptural shapes.

Author of a multifaceted oeuvre, Hoeydonck has always been concerned with the complex relationship between man and technology, wondering about our capacity for imagining the cities of the future.

The sculpture shows a schematic alien, whose funny features underline the playful nature of the piece.

An astonishing geometric creature makes us think of different life forms which, though natural, may call other age-old cultures to mind, in a play of time and fiction.

Peter Klasen has developed a personal, flexible discourse throughout his career, reinterpreting and reformulating modern urban and social iconography according to the aesthetic tradition of Pop Art.

In this piece, Klasen adopted some Pop Art strategies: oversized daily objects are taken out of their contexts, and new relations of scale turn them into veritable icons.

Although some details of the sculpture resemble mechanical objects or parts of an electronic device, we are confronted with an artefact whose strange spatial design is both alluring and electrifying.

Two parts, one heavy and earthbound, the other ethereal, colourful and delicate, trace an arc looking like an example of childish architecture or a gigantic toy construction block.

"Diagonally Correct" develops from a partially buried rectangular figure, divided into two sections by a winding slit. It is Maler’s first non figurative, monumental sculpture.

The weight of the sculpture is counterbalanced not only by its graceful shapes, but by the vivacious combination of colours livening up the environment.

Maler revealed that, after he had done the sculpture, he discovered that "the work is cut into two parts and one of the parts has the shape of an "S", which may be a symbol of Santo Tirso".

A keen observer of graphic and typographic signs, Villeglé started to create, in 1969, a “socio-political alphabet”.

The alphabet, represented in the sculpture, is made up of political, religious and currency symbols instead of letters, which he has turned into the subject matter of his paintings and sculptures.

Philippe Perrin’s selection of subject matter follows a very particular criteria. The objects chosen by the artist usually include instruments connoted with violence and vandalism, as well as religion.

Perrin is particularly well-known for his objects of gigantic proportions — mostly guns, but also pocket knives, razorblades, rosaries, rings and barbed-wire crowns.

"Razorblade" echoes some of Pop sculpture’s aesthetic options in the 1960's, in which trivial household objects are monumentalised through scale enlargement, in order to become oddly seductive icons.

Denis Monfleur is one of the few artists who has kept alive the ancestral practice of subtractive sculpting, i.e., direct carving to remove unwanted material.

Monfleur prefers hard materials like granite and basalt to produce either monumental or smaller sculptures. He has managed to build up a distinctive identity through the way in which he roughs out, chisels and models his materials.

The plastic qualities of the unfinished form and the suggested gesture stress the need for the viewer’s active participation in constructing the piece´s meaning and value.

Defining himself as a sculptor-draughtsman, Pierre Marie Lejeune has developed a repertoire of forms which resemble the characters of an imaginary alphabet in permanent progress.

Lejeune media of choice include metal (steel, stainless steel and brass), glass, mirror, water and light, which he prefers to use in their natural states, refraining from drastic intervention.

"Piège À Ciel" is a rigorous and refined piece which develops an intimate relationship with its environment through its reflections in the mirror-finish surfaces.