Nicolas Rudler

… multiple. It can be read like matter or like a path, guiding or being guided by unconscious attractions. You have to enter like the extension of a natural gesture into the matter that is dead or in the process of decomposing. The recomposing of a dreamlike universe : the curve of a root takes on consciousness; a secret life revealed. The stone becomes a burden, a support or constituent of the being. The earthenware is the link between the created and the uncreated, my hand and my mind guiding it. In the research of moulding, a dialogue is woven between the natural gesture frozen in the root, the stone and the human look. It happens in the instant or the time until the moment to choose has come : time found again. The clay and its primary softness are the link that bind my spirit to the elements. The soft, indeterminate substance also becomes conscious and locked in place by firing. There are many themes plunging into mythology and into my view of the world and the human being. To be and to become a dream of descending into the unconscious, a synthesis between life and death. The object remains figurative, but its very presence transcends the figure, it wants to be. Hence balance is sought but intentionally never achieved. There is always a slight quiver, a suspended fall. Here the root has its central place. It is the underground being, eager for life, it seeks out the light, it is the living dead yet more so, its metaphors are as vast as the human soul. Like the first tree, the Iggdrasil oak from Scandinavian mythology : by dreaming of roots, the entire world is revealed. But mainly the early world, symbolised from what was, a dream of what will be. Myths are its substance; the idol its anthropomorphic posture. A look and reflection of the spirit, alone, in front of another him. Nicolas Rudler, born in 1967, lives on the edge of the Vosges forests, where he devotes his life to sculpting.