Well, I'm here with Uh Laurent endorses who is the son of Pierre d'os and he
and I have uh something in common.
Our respective bosses were accomplices, we work together. accomplices, we work together.
Pierre dos as an architect and my father father Costas pianos as an artist and
at least since sixty three nineteen hundred and sixty three and
until the early eighties Uh, the other thing we have in common
with uh with Laure, is that he is that he also takes care of his father's work.
He's just done an exhibition and a book about the work.
of his father and his grandfather.
Because it's a.
It's an architectural firm that's been around for three generations
and I'm also taking care of my father's my father's work and that I did
exhibitions and catalogs.
And that's it.
And so I would like to ask the question I'd like to ask Laure about her, uh, her impression,
how he experienced this complicity.
of the work.
of his father with my father's work. father's work Yes, so, uh, actually, so
welcome to our home so here third generation yes I knew
uh Costa so uh from birth in fact uh I grew up uh some
also uh with him through uh my father, I my adolescence and
then a little bit actually, my my life, uh, of departure from men.
Finally, I loved Costa.
It was like uh my dad's big brother in my father's big brother with a uh creative eye
that he particularly liked.
And I could see actually that between really, uh, things were going on.
Not necessarily in the in the in the word.
but often made with the hands in the forms that they were talking about together.
We have movies from elsewhere.
Uh, a bit messed up like that, but they are very interesting because we see them
burn polystyrene, wrong, sheet metal And uh, all this was a world, really?
Uh, pretty wonderful.
And yes, for me, Costa, it was the Picasso of the family.
he had the same eye in he had the same eye in fact uh intelligent uh the creation in
I don't know, he's someone who I've always been very impressed by him and
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
in it, but really as I got older.
the older I get, the more I like the more I like the piano, that's it.
I mean, it's really a family story.
And so actually the time when my father worked with him a lot.
And so it actually started in the Ain since they are known
in Bayonne with Roger Vailland whom my father also knew.
And they decided together indeed, to work and to try in fact
to integrate Costa's sculpture into the the stone architecture whatsoever
part so they are asking questions Uh my father to look at how to work.
They actually decided to work with casts in
concrete in concrete to create to create bas-reliefs in concrete.
that my father therefore integrated uh at the lintel level of these lintels.
buildings or as part of the one percent artistic percent artistic where they actually reserved
a wall for Costa so not only to actually bring move a
the city of Bourg-en-Bresse and in general uh because it was
at the time, in fact, things that were and to really bring
the contemporary art in fact in the the city in a rather strong way in fact.
And I think he is pretty well known for it here.
And uh there you go, so there's a whole past that is mixed up in
my life in fact as a family.
And then actually, this art that could have been made between the
the sixties and eighties.
my father having also uh a little bit stopped afterwards but I think that until the end they
and they were both really and they were really very close together.
You were talking about this uh this relationship between the gestures
and the look and it's true that it is quite uh uh in parallel
with the same relationship that my father had with father had with Roger Vailland because
who was completely uh, very intellectual and intellectual and not at all manual.
He had this admiration for the finally the manual genius of the artist.
and and and I think there was that connection there and the
report that they had.
Our pater has had, I think, has evolved and not only in that sense, but also in the
in the artistic sense as well, in the form where they could really work
together and really create things.
And and and in the long run.
Yes quite yes Costa uh was before a whole one we have that's it, that's said.
It's true that he creates a little bit in fact before he actually makes these sculptures.
Everything was also very cerebral like Vailland's finally and uh so they
actually had a way of bend over and see in space.
which is quite fabulous.
And uh, these sculptures, the show, its reliefs too.
And so, it brought really brought a vibration.
In fact, in the Savenay architecture to catch the light and it was
also a way of doing things together things together, which was quite
beautiful, what, just yes.