WEBVTT NOTE This file was generated by Descript 00:00:00.170 --> 00:00:08.060 Well, I'm here with Uh Laurent endorses who is the son of Pierre d'os and he 00:00:08.060 --> 00:00:10.830 and I have uh something in common. 00:00:12.300 --> 00:00:21.490 Our respective bosses were accomplices, we work together. accomplices, we work together. 00:00:22.995 --> 00:00:30.325 Pierre dos as an architect and my father father Costas pianos as an artist and 00:00:31.255 --> 00:00:36.805 at least since sixty three nineteen hundred and sixty three and 00:00:36.805 --> 00:00:43.215 until the early eighties Uh, the other thing we have in common 00:00:43.225 --> 00:00:50.095 with uh with Laure, is that he is that he also takes care of his father's work. 00:00:50.095 --> 00:00:54.695 He's just done an exhibition and a book about the work. 00:00:55.125 --> 00:00:57.035 of his father and his grandfather. 00:00:57.035 --> 00:00:58.255 Because it's a. 00:00:59.125 --> 00:01:02.775 It's an architectural firm that's been around for three generations 00:01:03.135 --> 00:01:07.255 and I'm also taking care of my father's my father's work and that I did 00:01:07.255 --> 00:01:09.535 exhibitions and catalogs. 00:01:10.825 --> 00:01:11.305 And that's it. 00:01:11.315 --> 00:01:20.505 And so I would like to ask the question I'd like to ask Laure about her, uh, her impression, 00:01:20.515 --> 00:01:23.345 how he experienced this complicity. 00:01:23.685 --> 00:01:25.985 of the work. 00:01:26.275 --> 00:01:32.545 of his father with my father's work. father's work Yes, so, uh, actually, so 00:01:32.545 --> 00:01:38.995 welcome to our home so here third generation yes I knew 00:01:38.995 --> 00:01:43.575 uh Costa so uh from birth in fact uh I grew up uh some 00:01:43.575 --> 00:01:49.054 also uh with him through uh my father, I my adolescence and 00:01:49.054 --> 00:01:52.494 then a little bit actually, my my life, uh, of departure from men. 00:01:52.494 --> 00:01:54.964 Finally, I loved Costa. 00:01:54.964 --> 00:01:59.994 It was like uh my dad's big brother in my father's big brother with a uh creative eye 00:02:00.125 --> 00:02:02.164 that he particularly liked. 00:02:02.164 --> 00:02:06.285 And I could see actually that between really, uh, things were going on. 00:02:06.425 --> 00:02:08.615 Not necessarily in the in the in the word. 00:02:08.835 --> 00:02:13.825 but often made with the hands in the forms that they were talking about together. 00:02:13.835 --> 00:02:15.105 We have movies from elsewhere. 00:02:15.105 --> 00:02:18.295 Uh, a bit messed up like that, but they are very interesting because we see them 00:02:18.295 --> 00:02:23.245 burn polystyrene, wrong, sheet metal And uh, all this was a world, really? 00:02:23.245 --> 00:02:24.265 Uh, pretty wonderful. 00:02:24.585 --> 00:02:28.875 And yes, for me, Costa, it was the Picasso of the family. 00:02:28.894 --> 00:02:34.465 he had the same eye in he had the same eye in fact uh intelligent uh the creation in 00:02:34.465 --> 00:02:39.975 I don't know, he's someone who I've always been very impressed by him and 00:02:39.975 --> 00:02:45.065 I love his work, even if I was I love the work even if I was impregnated with it, so of course at the beginning, uh 00:02:45.075 --> 00:02:47.775 in it, but really as I got older. 00:02:49.255 --> 00:02:52.495 the older I get, the more I like the more I like the piano, that's it. 00:02:52.495 --> 00:02:54.405 I mean, it's really a family story. 00:02:54.405 --> 00:02:59.155 And so actually the time when my father worked with him a lot. 00:02:59.155 --> 00:03:02.745 And so it actually started in the Ain since they are known 00:03:02.745 --> 00:03:06.035 in Bayonne with Roger Vailland whom my father also knew. 00:03:06.255 --> 00:03:10.505 And they decided together indeed, to work and to try in fact 00:03:10.505 --> 00:03:16.730 to integrate Costa's sculpture into the the stone architecture whatsoever 00:03:16.730 --> 00:03:22.850 part so they are asking questions Uh my father to look at how to work. 00:03:22.850 --> 00:03:26.510 They actually decided to work with casts in 00:03:26.510 --> 00:03:29.560 concrete in concrete to create to create bas-reliefs in concrete. 00:03:29.895 --> 00:03:34.265 that my father therefore integrated uh at the lintel level of these lintels. 00:03:34.265 --> 00:03:38.245 buildings or as part of the one percent artistic percent artistic where they actually reserved 00:03:38.245 --> 00:03:42.615 a wall for Costa so not only to actually bring move a 00:03:42.615 --> 00:03:47.730 the city of Bourg-en-Bresse and in general uh because it was 00:03:47.730 --> 00:03:51.630 at the time, in fact, things that were and to really bring 00:03:51.630 --> 00:03:55.130 the contemporary art in fact in the the city in a rather strong way in fact. 00:03:55.130 --> 00:03:57.839 And I think he is pretty well known for it here. 00:03:58.320 --> 00:04:03.899 And uh there you go, so there's a whole past that is mixed up in 00:04:03.899 --> 00:04:06.280 my life in fact as a family. 00:04:06.280 --> 00:04:10.489 And then actually, this art that could have been made between the 00:04:10.489 --> 00:04:12.239 the sixties and eighties. 00:04:12.250 --> 00:04:17.990 my father having also uh a little bit stopped afterwards but I think that until the end they 00:04:17.990 --> 00:04:21.079 and they were both really and they were really very close together. 00:04:21.120 --> 00:04:30.390 You were talking about this uh this relationship between the gestures 00:04:30.610 --> 00:04:37.065 and the look and it's true that it is quite uh uh in parallel 00:04:37.065 --> 00:04:41.745 with the same relationship that my father had with father had with Roger Vailland because 00:04:41.745 --> 00:04:48.485 who was completely uh, very intellectual and intellectual and not at all manual. 00:04:48.675 --> 00:04:55.405 He had this admiration for the finally the manual genius of the artist. 00:04:56.225 --> 00:05:01.075 and and and I think there was that connection there and the 00:05:01.075 --> 00:05:03.635 report that they had. 00:05:03.645 --> 00:05:08.405 Our pater has had, I think, has evolved and not only in that sense, but also in the 00:05:08.405 --> 00:05:12.355 in the artistic sense as well, in the form where they could really work 00:05:12.355 --> 00:05:15.365 together and really create things. 00:05:15.375 --> 00:05:18.370 And and and in the long run. 00:05:19.050 --> 00:05:24.659 Yes quite yes Costa uh was before a whole one we have that's it, that's said. 00:05:25.050 --> 00:05:29.310 It's true that he creates a little bit in fact before he actually makes these sculptures. 00:05:29.490 --> 00:05:34.960 Everything was also very cerebral like Vailland's finally and uh so they 00:05:34.960 --> 00:05:38.969 actually had a way of bend over and see in space. 00:05:38.969 --> 00:05:40.705 which is quite fabulous. 00:05:41.085 --> 00:05:43.775 And uh, these sculptures, the show, its reliefs too. 00:05:43.775 --> 00:05:45.745 And so, it brought really brought a vibration. 00:05:45.745 --> 00:05:49.425 In fact, in the Savenay architecture to catch the light and it was 00:05:49.425 --> 00:05:52.735 also a way of doing things together things together, which was quite 00:05:52.735 --> 00:05:53.895 beautiful, what, just yes.