Finally we are always doing the same thing … faire ou ne pas faire la même chose. Une discussion multilingue avec Vincent Barré et Richard Deacon
YD : Quand avez-vous pris connaissance de l’œuvre de Richard pour la première fois ?
VB: The first I heard of him was in 1981, when
I’d just left architecture and had started making assemblages in my studio in the Bastille district. I applied for the Paris art biennial, but I was very immature, and fortunately I wasn’t selected. Anne Tronche, one of the jury members, mentioned your name to me, Richard, and said she was interested in this kind of work, which was very new on the art scene. […]
I went to see your sculpture, and found it enigmatic and impressive. Although I’d done some serious work on issues of space and the city, I had very little experience of sculpture, and I was starting to realize which way I needed to go. That was my first en-counter. The second was in about 1987 when I was an assistant to the sculptor Georges Jean-clos at the École des Beaux-Arts, and we decided to take our students to see the “Britannica” exhibition of young British sculptors at the Musées de Normandie. […] So I saw Richard’s work at a very early stage, and I thought about what it could tell me.
Finally we are always doing the same thing … faire ou ne pas faire la même chose. Une discussion multilingue avec Vincent Barré et Richard Deacon
YD : Quand avez-vous pris connaissance de l’œuvre de Richard pour la première fois ?
VB: The first I heard of him was in 1981, when
I’d just left architecture and had started making assemblages in my studio in the Bastille district. I applied for the Paris art biennial, but I was very immature, and fortunately I wasn’t selected. Anne Tronche, one of the jury members, mentioned your name to me, Richard, and said she was interested in this kind of work, which was very new on the art scene. […]
I went to see your sculpture, and found it enigmatic and impressive. Although I’d done some serious work on issues of space and the city, I had very little experience of sculpture, and I was starting to realize which way I needed to go. That was my first en-counter. The second was in about 1987 when I was an assistant to the sculptor Georges Jean-clos at the École des Beaux-Arts, and we decided to take our students to see the “Britannica” exhibition of young British sculptors at the Musées de Normandie. […] So I saw Richard’s work at a very early stage, and I thought about what it could tell me.