WEBVTT NOTE This file was generated by Descript 00:00:02.480 --> 00:00:08.029 just after, during this period of the collaboration with the, with 00:00:08.029 --> 00:00:12.950 the Galerie de France like my father, to be interested in the large size. 00:00:14.420 --> 00:00:18.500 Roger Vailland has uh lend him a studio. 00:00:19.550 --> 00:00:24.080 Finally a farm that had a big room there was a large room 00:00:25.080 --> 00:00:29.250 inside so that we could a barn, a kind of barn. 00:00:30.009 --> 00:00:36.710 that we could use as a workshop and a big space outside too. 00:00:37.450 --> 00:00:38.200 He was a friend. 00:00:38.200 --> 00:00:44.870 We have in the, in the, the village of Yana which is in the area of the UMP, in 00:00:44.870 --> 00:00:49.250 the border between the one and the Jura. 00:00:50.470 --> 00:00:56.040 And that's when my father, around uh sixty and one, starts 00:00:56.040 --> 00:01:00.010 to frequent this region and this farm where he starts to work, 00:01:01.690 --> 00:01:06.085 I can't say exactly if he was still in Paris. 00:01:06.085 --> 00:01:07.905 I mean, I think he was still in Paris. 00:01:07.905 --> 00:01:11.235 His base was still in Paris, he still works with the 00:01:11.245 --> 00:01:16.755 station and France and he was making trips where he would start to 00:01:16.755 --> 00:01:19.485 work on the large dimension. 00:01:22.865 --> 00:01:27.825 He was of course, uh a lot, Roger Vailland, because 00:01:27.825 --> 00:01:29.585 that Roger Vailland was based there. 00:01:29.585 --> 00:01:32.880 His house was there and this barn. 00:01:32.890 --> 00:01:38.300 This farm where my father worked was an annex, mostly another house 00:01:38.300 --> 00:01:45.300 that he had, that he had bought and that they not using, and so frequenting. 00:01:45.300 --> 00:01:50.870 Valiant rejection, he made many acquaintances, including his photographer 00:01:50.870 --> 00:01:56.405 Mark Arrangé, who was who was very important in his 00:01:56.405 --> 00:02:00.195 life because all the archives are more or less photographic. 00:02:00.305 --> 00:02:04.845 The archives of my father, on which I based myself on to understand 00:02:05.005 --> 00:02:10.755 the magnitude of the work, are through the arranged marriage photos. 00:02:11.405 --> 00:02:15.545 That was a very important meeting in Vailland's work, and the other meeting 00:02:15.545 --> 00:02:20.435 was the meeting with the architect with the architect Pierre d'Os. 00:02:24.235 --> 00:02:27.775 or from where the collaboration with Terre dos begins. 00:02:27.785 --> 00:02:33.655 The idea is finally not only the idea that the fact of participating 00:02:33.665 --> 00:02:37.945 the one percent, so the one percent was one percent, so what was the one percent? 00:02:38.335 --> 00:02:45.595 It was a law that the minister of De Gaulle uh and the writer 00:02:45.595 --> 00:02:52.440 Malraux had initiated and had created the one percent of each budget 00:02:52.520 --> 00:02:55.210 of architecture. 00:02:55.600 --> 00:02:59.020 Come on, this is dedicated for an artist, for a work of art. 00:03:01.100 --> 00:03:06.280 And so that's how in one thousand nine hundred and sixty three, I think 00:03:06.290 --> 00:03:12.040 that this is the first public work of my father's collaboration starts 00:03:12.040 --> 00:03:18.030 with the architects Pierre de in the sense and other architects. 00:03:18.995 --> 00:03:21.515 who followed, croupier of others. 00:03:23.495 --> 00:03:29.704 And that, that completely changed his work and his way of working. 00:03:30.195 --> 00:03:36.295 Because, deep down, he had the the need to do some work. 00:03:36.305 --> 00:03:39.315 monumental sculpture, like many sculptors a lot of sculptors. 00:03:40.195 --> 00:03:43.815 And there you have it, the large size he's very interested in. 00:03:46.220 --> 00:03:47.880 and working himself. 00:03:47.880 --> 00:03:48.490 By the way. 00:03:48.700 --> 00:03:53.430 We must not forget that one of the characteristics of my father and that is 00:03:53.430 --> 00:04:00.500 really that seems quite incredible, is that incredible, is that most of these 00:04:00.500 --> 00:04:05.140 big sculptures that you see everywhere, they were made by him. 00:04:05.725 --> 00:04:12.155 except some of them like uh for example the last sculpture that he did at 00:04:12.155 --> 00:04:19.315 uh in ninety-four in the in the factory of it was a uh well, 00:04:19.315 --> 00:04:24.215 it was a collaboration with Finally it was done in the factory and as 00:04:24.215 --> 00:04:28.355 the material was still very very difficult because it's very difficult because it's 00:04:28.355 --> 00:04:31.655 uh it's to make it very very thick. 00:04:31.655 --> 00:04:34.785 Uh ten centimeters or fifteen I don't remember. 00:04:35.289 --> 00:04:42.250 I think that these fifteen and but most of these most of these, you see it in the 00:04:42.250 --> 00:04:47.710 photos moreover were welded, were assembled, were assembled by him 00:04:47.710 --> 00:04:52.890 even, that one percent period. 00:04:52.890 --> 00:04:53.210 How does it work? 00:04:53.210 --> 00:04:54.229 One hundred and sixty three? 00:04:54.229 --> 00:04:59.000 It will end with the end of the month. 00:04:59.400 --> 00:05:04.090 of the one percent more or less because the one percent can exist in a way 00:05:04.310 --> 00:05:12.120 uh in the papers but is no longer applied so much, and so it lasted 00:05:12.120 --> 00:05:16.110 and so it lasted about fifteen years, even see almost twenty years until the 00:05:16.110 --> 00:05:23.150 the beginning of the eighties and it was So it's been an ongoing collaboration. 00:05:23.159 --> 00:05:29.395 And so, as in all the shoots that you've done in the region 00:05:29.395 --> 00:05:33.645 or in the regions of France, you could see the extent. 00:05:33.655 --> 00:05:39.665 Finally, in the sense of, of, of of of of number, of number of 00:05:39.665 --> 00:05:42.534 sculptures and installations that were made at that time. 00:05:42.995 --> 00:05:44.445 It's still pretty amazing. 00:05:44.455 --> 00:05:51.360 About sixty works all over France, and not only in France, by 00:05:51.360 --> 00:05:58.040 for example at Rolex and other places in places in Geneva, Switzerland and 00:05:58.040 --> 00:06:06.630 in Italy also in my role, me personally, with my father, it was 00:06:06.630 --> 00:06:09.850 that I started to work with him. 00:06:10.330 --> 00:06:16.415 Finally, he needed to have someone around him someone around to help him. 00:06:16.805 --> 00:06:20.615 And especially since I was his son, that I hadn't really lived the whole 00:06:20.615 --> 00:06:26.355 I had grown up in Greece with my mother with my mother, so I had to uh, when 00:06:26.355 --> 00:06:31.815 I came to study music, here in Paris, in here in Paris, in 1960 00:06:31.815 --> 00:06:35.555 seventeen, where I stayed for two years, so I went to the workshop a lot 00:06:35.555 --> 00:06:41.185 and uh, I started out good. 00:06:41.409 --> 00:06:43.630 I started to work with him a little bit. I started to work with him a little bit. 00:06:45.880 --> 00:06:50.820 I must admit that at the time, I I was very, very absorbed 00:06:50.820 --> 00:06:54.430 by the music and so I was. 00:06:55.310 --> 00:07:02.789 I was less inclined to want to work with him, but I did 00:07:02.789 --> 00:07:07.159 I did it anyway and then I went to the the United States for ten years where I 00:07:07.159 --> 00:07:12.474 and so I went back to the eighties in the eighties in the nineties. 00:07:12.844 --> 00:07:16.224 So, between ninety and ninety and ninety-five, I have quite a bit 00:07:16.224 --> 00:07:20.515 I worked with my father, a lot and I wanted to work with him. with the desire to work with him. 00:07:21.185 --> 00:07:26.775 Uh to understand the work of his way of working with the materials, the 00:07:26.775 --> 00:07:30.275 techniques is so we worked. 00:07:30.275 --> 00:07:32.065 Uh, I was going to attend. 00:07:32.075 --> 00:07:40.354 They had already moved from there, the first one where he stayed for fifteen years. 00:07:41.935 --> 00:07:48.205 He moved to the south, so in the south. 00:07:48.544 --> 00:07:51.875 The reasons are because already, he was tired of the fog 00:07:51.875 --> 00:07:53.555 and he wanted the sun. 00:07:53.565 --> 00:08:02.955 Being Greek anyway, it's uh quite understanding and he went 00:08:02.955 --> 00:08:10.354 and he went to live in a farmhouse right next to Mario Praz Marche where he was very friendly. 00:08:10.935 --> 00:08:14.825 He spent fifteen years of his life that is to say, the eighties 00:08:14.835 --> 00:08:19.234 to ninety-five so between ninety and ninety-five, 00:08:19.234 --> 00:08:23.615 I frequented a lot are massing so that's why in ninety-one 00:08:23.625 --> 00:08:29.479 I have a video report. 00:08:29.940 --> 00:08:36.250 We work on the construction of the sculpture is quite 00:08:36.250 --> 00:08:45.260 approximate, which was exhibited in ninety-one at Iliad Natividad. 00:08:46.340 --> 00:08:51.540 This is a great exhibition and after and this sculpture was 00:08:51.550 --> 00:08:54.050 was transported to Thessaloniki. 00:08:54.540 --> 00:09:04.330 for the exhibition to my friends, so my father died in eighty 00:09:04.330 --> 00:09:12.560 fifteen and my first attempt to take care of his work. 00:09:15.400 --> 00:09:18.130 In the meantime, I had working on the archives. 00:09:18.130 --> 00:09:24.310 List all the works, that's it make some kind of analysis of the 00:09:24.310 --> 00:09:26.980 work, of his work. 00:09:27.310 --> 00:09:34.420 And in ninety-seven, we worked, we had work, we had, we already had, it 00:09:34.420 --> 00:09:42.199 there was this episode, as I mentioned, of the I had mentioned, of the exposure to the 00:09:42.199 --> 00:09:47.750 Cordeliers, of the salons of the salons of the young sculpture of the fifties 00:09:47.890 --> 00:09:54.850 where my father had expressed the will to make, if ever there was a 00:09:54.850 --> 00:09:58.980 retrospective, to do it there and so with the person this person, 00:09:58.980 --> 00:10:01.935 seven commissioners Gabriel Bouillon. 00:10:03.275 --> 00:10:06.495 We decided to do the first retrospective of my father in four 00:10:06.495 --> 00:10:09.925 twenty-seven, here in Paris, at the Odeon. 00:10:11.275 --> 00:10:11.915 That's it. 00:10:11.915 --> 00:10:16.935 So that was, let's say the first experience. 00:10:18.975 --> 00:10:26.135 Well, or entirely, I was responsible for for working with my dad's sale. 00:10:28.265 --> 00:10:33.675 I was very supported by all his friends and everything, it's been 00:10:33.675 --> 00:10:43.055 very easy to find and all these professionals, of course of 00:10:43.064 --> 00:10:48.935 it was very easy to organize and it was a great success. 00:10:51.485 --> 00:10:55.425 artistic and sentimental. 00:10:55.525 --> 00:11:02.995 That is, sentimental for me, to have been able to pay homage to my father and 00:11:03.785 --> 00:11:11.405 and at the same time to gather all the people that he admired and loved.