Marie-George Sy

I explore and question the boundaries between decorative art and art.

This distinction is recent. For a long time, and until the Renaissance, art and "technè" (Greek) were confused. By "technè," the Greeks mean the know-how that allows the production of an object. The word has a very broad meaning: it encompasses both the work of the craftsman and that of the artist.

Where does art end and the object begin?

I explore the creative work through artistic pieces in small series or unique. Genres, traditions, or the relationship to time; the work of wire as a tool for questioning. Knitting meets masonry to both tangle and unravel expectations and play with ambiguities and paradoxes. It is about revealing the material in a different way, creating volumes in space, and exploring the graphic play allowed by wire. My approach, sensitive and intuitive, is a quest for meaning and emotions through the material. This quest involves the sublimation of a raw material. The wire becomes a malleable, round lace, a matrix. It draws in space, explores the densities of black, and offers sober and elegant pieces to enchant your interiors: cacti, lighting, flowers, wall decorations, etc.

CREATION TECHNIQUE

I work with annealed wire used in masonry for reinforcement. I shape it by hand, aided by a cutting and flat-nose pliers. Most of the time, no welding is involved, except for the "prickly pear" type cacti. The starting point for a piece is often a sketch, a materialization of an image, a desire, a pervasive idea.

Origin of the wire: construction material stores. 43% of the European Union's steel production comes from recycled steel, manufactured in electrically powered furnaces.