We are a brother-sister sculpting duo whose artistic explorations have been an abiding passion for years—all the more so that sculpting has been a family tradition for over five decades.

The complementarity that we have found in sculpting together has allowed us to go beyond our own work and to exceed our individual explorations. We work together, though not side-by-side; our paths interconnect, our shared work anchored in a communication and exchange that respects our respective intellectual identities.

In childhood, we were surrounded by a natural abundance of lakes, waterfalls and forests. This environment provided a fertile ground for our imaginations and for future creations. Our creative process was thus guided by a heightened awareness of the fragility of the ecosystems by with human beings must share the planet’s resources.

Chronologically, our sculptural work has revolved around two main axes, with a changing rapport to the theme that still speaks to us today—water, which supports life, is in danger. Our first two series of sculptures, Jardins des Élixirs and Dormeuses au Jardin, are hymns to biological unity and the interconnection of all the elements that contribute to all creatures’ survival. In the second more recent collection of works, the human rapport with nature is made more fragile: the issue of water and its imbalances comes to the surface and directs our sculptural expression and exploration.

Each work is created in tandem, in an atmosphere of shared intellectual effervescence: sketches on paper; clay, crudely worked and remodelled into many forms; drawings and photos of life models; fragments of all kinds of materials assembled to simulate supports, accessories, environments; and transformed past studies.

The subject must be convincing in all its parts: volume, dimension, movement, interplay between fullness and void, facial expressions. In a word, its architecture. Works are created in a spirit of great flexibility throughout. From the structure of our little study to the framework of the final piece, commonality is a constant. They must be versatile, workable. And since it does not dry out, the waxy synthetic clay we use to mould and create our works also ensures this transformative potential. When the work is done, the clay is still alive and our intermingled fingerprints still visible.

We currently favour bronze and aluminium, though we have previously used wood, resin plaster, and various other resins, and will no doubt consider new materials in the future: exploring materials and working techniques is stimulating, and even essential to our creative development.

Our sculptures are not objects intended for passive observation. The subjects are startling, at times poetic, or realistic, and will sometimes stem from the anticipation of the main theme, which always invites reflection and dialogue.

Céline White et Jean-Guy White