First phase, work alone

Discovery of the clay and its ductility and look for which is ideal for sculpting. 

Exploration of clay on the face, clay becoming your own flesh and mediation to feel and think your face, ie your identity, a form of meditation to return to oneself.

The link question: mask and presence. Reflections on the function of the mask and how it affects our personality . Here is a very special clay mask because a moving mask, a new concept in art, a mask that is not to hide but to reveal Himself, an laying bare you feel, a mask become living .

Every one makes a « Transfiguration » alone in front of the others and tries to start from his/her own feelings and kinesthesis  in order to explore and discovering our inner man. 

the people in the group compare the differents approachs for each individual and this reveal of our personality. 

We will have a careful consideration on how to move, how to dance with clay. 

How the clay and this blind work increase our sensation of touch and sens of feeling, selfpresence.

Second phase: work in pairs and in group.

The same work but with one other, Transfiguration become Hybridation (hybridization)

Everyone covers someone else’s face and body, to the blind,  a great moment of sensuality. 

Work on the contact, bashfulness, modesty  at first dressed and after naked.

the body of the other, the other becomes a continuity of his own, the group becomes one body.

PDF interview

Groupe de 15 personnes maximum, toutes formations confondues / 15 max students in art or dance studies


S’enduire de terre est un acte initiatique que l’on retrouve chez tous les peuples primitifs, la terre s’avère un déclencheur libératoire et créatif.
Un corps recouvert de terre passe étrangement dans un arrière monde pour devenir une sorte de corps transfiguré, entre sculpture et fantôme.
Se recouvrir de terre, c’est aussi paradoxalement se laver de tout un monde artificiel et culturel pour soudain se retrouver dans un face à face, jouissif et originel. Ce travail en aveugle va amplifier notre sens du toucher et de la proprioception en général. En développant le toucher c’est avant tout la question du temps et de l’instant présent que l’on vise. comme le disait Aristote le Touché est bien le fondement de l’âme.

TECHNICAL RIDER (15 students, 4 or 5 days)

 plastic sheet 6 x 10M
one drill and mixer (clic this links)
3 big trash (80 litter  ) to mix the clay with the water

Provide by student:
-10  métal barquette  side about 12 cm
-1 bowl metal diameter 25cm for the water
– 30 kg  white clay
-800 gr acrylic or gouache  black paint
-500 gr cadmium red deep, acrylic or gouache paint

provide showers in the same place !!!
Student to come with old clothes and shorts and towel 

About Olivier de Sagazan :
Performer and sculptor Olivier de Sagazan was born in Brazzaville, Congo in 1959. For more than 20 years, Olivier de Sagazan has developed a hybrid practice that integrates painting, photography, sculpture and performance. With his work De Sagazan is able to cross boundaries between the physical, intellectual, spiritual and animalistic senses. Therefore his work is disquieting and deeply moving. Equally inspired by Francis Bacon and Samuel Beckett, he uses themes like deformity and transformation.


Les commentaires sont clos.