Claude Philippe Nolin’s wood sculpture is essentially abstract. It results in the artist’s dialogue between himself and matter, an encounter where the conscious and unconscious intervenes.

 

Since each work is unique and independent, there are no series.

 

For Claude Philippe, each work must be in a position to not only be touched by the spectator, but also tent him up to caress it.

 

Raw wood contains in itself the work’s potential revealed by the artist’s labor and sensitivity. Claude Philippe does not initiate his work from sketches or plans. Each revealed part calls for the next by a constant research of equilibrium and disequilibrium, as the artist frees them from the wood. Such created forms and textures are exciting stimuli for our synapses.

 

Claude Philippe is a former student of automatist artist Jean-Paul Mousseau. He inherited a pronounced reflection on artists’ liberty of expression, on his own creative approach, and about the inspirational sources for an artistic creation.

He has also been greatly influenced by the theoretic writings of Antoni Tapiès, a multidisciplinary Spanish artist deeply touched par the Spanish civil war’s atrocities, who led a constant resistance by his artistic practice. The use of textures in Tapiès’ abstract paintings significantly influences Claude Philippe’s sculpture work.

 

Until now, the artist has achieved exclusively small works because of means at his disposition. But he stands for the objectives of carrying out works of greater extent, and also associating various materials.

 

He is actually working on a series of mural sculptures combining a variety of mediums.