With this sculpture of a female body in metal lace and earth patina, I wanted to evoke vast expanses, a breath carried by the wind, between grounding and elevation.
An open body like an expanse
In Pavarti Steppe, the female body does not close in on itself. It stretches, opens, lets itself be crossed. It evokes a space more than a form, a silent, almost infinite expanse.
The earth patina grounds the sculpture in something deep and stable, like a rooted presence. It recalls the material of the soil, the dust, the continuity of the landscape. The body then becomes territory, a surface inhabited by time and wind.
This opening gives a feeling of freedom, but also of peaceful solitude. Nothing is constrained; everything flows.
The breath of the wind and the spiritual presence
The metal lace lets air and light through, like the prayer flags seen fluttering in Tibetan landscapes. These colorful fabrics, carriers of mantras, are traditionally hung so that the wind spreads prayers and blessings through the space.
In the sculpture, this idea becomes material. The void is not absence; it is circulation. The body seems to be crossed by an invisible breath, as if something is passing through it.
There is a meditative dimension here. The body does not impose itself; it welcomes. It becomes a meeting point between the earth and the air, between the visible and the invisible. The material, worked in steel, remains present but fades in places to give way to a broader sensation.
The whole creates a calm, open work where the gaze wanders like in a landscape, carried by slow breathing.
