Sculptural Series

Still Standing

Three glass sculptures. Three ways of constraining the living.

Discover

The Series

A Question of Constraint

Still Standing brings together three glass sculptures built from a direct relationship between heated matter, real mineral bases, and acts of constraint. The series is less concerned with the plant itself than with the forms of action exerted upon it.

Each work corresponds to a distinct regime: uprooting, abandonment, mastery. From one piece to the next, violence changes form. It can be frontal, silent, or become nearly invisible when it produces order, balance, beauty.

Three Regimes

01 / Surgo

Uprooting

When the living emerges from a sterilised environment.

02 / Cérasus

Abandonment

When it persists without being chosen, tended to, or noticed.

03 / Kōshi

Mastery

When it is disciplined until it conforms to an expected form.

01 / Surgo

When the Ground No Longer Nourishes

Surgo rests on a fragment of Marseille asphalt. The base is not symbolic: it is a real piece of infrastructure, a surface covered, hardened, rendered unfit for any growth.

The plant form stands nonetheless. Leaning, unstable, almost leafless, it conveys neither flourishing nor harmony. It emerges despite a medium that denies it.

Here, the violence is frontal. The living is smothered by the very support on which it should take root. The cracks, the imbalances, and the tension in the glass extend this struggle into the material itself.

Original work · Unique piece · 2025

Blown borosilicate glass on Marseille asphalt

H: 31 cm / W: 44 cm / D: 28 cm

Availability: on request

Surgo, blown borosilicate glass sculpture on Marseille asphalt fragment

02 / Cérasus

When the Gaze Turns Away

Cérasus rests on a base of raw concrete and fragmented limestone. The ground is not entirely dead, but it is impoverished, contaminated, relegated.

The plant stands upright, but without full stability. Some branches still seem free; others appear already bent. It could have become a bonsai. It did not.

Here, the violence is no longer spectacular. It acts through non-consideration. Nothing is uprooted, nothing is truly tended. The living continues, but in an in-between: too raw to be valued, too altered to thrive.

Original work · Unique piece · 2025

Blown borosilicate glass on concrete and fragmented limestone

H: 22 cm / W: 33 cm / D: 24 cm

Availability: on request

Cérasus, blown borosilicate glass sculpture on concrete and fragmented limestone

03 / Kōshi

When Everything Aligns

Kōshi rises on a base of natural limestone — richer, more intact, more stable. Nothing here seems lacking. The form appears balanced, dense, almost inevitable.

But this apparent rightness is the result of repeated constraint. Extraction, pruning, binding, orientation, correction. Year after year, everything that deviated was straightened, everything that resisted was reduced.

It is the quietest form in the series, and perhaps the most violent. Because the constraint no longer appears as destruction but as care. Beauty then becomes ambiguous: it does not erase the violence — it makes it acceptable.

Original work · Unique piece · 2025

Blown borosilicate glass on natural limestone

H: 25 cm / W: 40 cm / D: 18 cm

Availability: on request

Kōshi, blown borosilicate glass sculpture on natural limestone

Material

Why Glass

Glass is worked under heat and tension. It imposes a direct relationship with limits, with recovery, with unstable balance. It retains the trace of the gestures, constraints, and corrections that have passed through it.

In Still Standing, it does not merely give form to a plant. It makes visible what the form already contains: a pressure, an orientation, a resistance.

Glass does not lie about what it has been through.

Documentation