1949 – 1949 | lives and works in Aix en Provence, France.
The Golden Age – Paris, September 2001
Using a process of laser reproduction, Robert Blanc prints his drawings on different sized photographic film. He no doubt drew his inspiration from his childhood. As a small boy, he was fascinated by his father’s daguerreotypes, stashed inside an old wood stove relegated to the back of a barn. His father, who carved marble, systematically had photographs taken of his works, tombstones for the most part. Perhaps that’s why Robert Blanc exalts life and evolution in all his works like Chaos, the golden age.
Cosmogonies – Paris, September 2004
Robert Blanc brings us hope of an eternal life in black and white. Eternity stands still while feasting in a fabulous Olympus where Prometheus awakens each day with the joy felt by Sisyphus when he finally succeeds in placing his boulder on top of the hill. From the summit, he gazes at the world around him and, free at last, joins Zarathustra in his search for perfection. Sculpting myths means celebrating the dance of life.
Child of the earth and quarries, familiar with the kingdom of shades, Robert Blanc is fond of dr ypoint and balsa, that ver y light wood used to make models. His sculptures have the lightness and density of those materials from which one wishes life were made. Pagan dances are a prelude to births in an endless spiral where death is abolished. An invocation of a childhood dedicated to Hades and Orans, Robert Blanc’s inspiration spreads its wings to embrace the universe of his creations that illustrate ancient myths irrespective of place and time. Buddha reigns alongside Jesus and they eagerly climb Jacob’s ladder. It’s all about rediscovering the circle, the infinite, the serpent that bites its own tail, the dragon that holds the world in its claws, looking somewhat perplexed as if wondering whether to devour it or not.
The spiral is a form that unwinds, thus ideal for depicting the various stages of an evolution that Robert Blanc miniaturizes using India ink and a triple zero paintbrush. One has to lean in close to make out the farandoles. First there’s nothing, then forms emerge and grow clearer as this giant coiled-up question mark gradually uncoils.
Robert Blanc detests emptiness.Through his Cosmogonies, he produces his answer to the eternal question,“Why is there something rather than nothing?” Creation arises ex nihilo.