Opening the studio

An artist’s work is his biography, according to Octavio Paz. So it is for Mignolet Brochocka; his work embodies a compassionate dramatisation which can be discerned in the sculptures’ titles.

His figures compose a sensual architecture and a material alphabet. Hand, heart and intellect concur to produce an art which conveys understanding and delight (Jean Clair). It is a tribute to Malraux’s humanist vision of art as that which is beyond us and of which we had no foreknowledge.

“The entrance is not really the door. But it leads to a place of disorderliness, of residues, of poetic or musical metaphors which become titles.

It is those metaphors which subject the sculptor to his toil, as he reaches out to touch a mystery.  His is an exacting carving method whose movements draw on music, theatre and poetry; for they have nourished the body’s memory, storing them in gratitude.

Thus to touch that place where wonder, misery and shadow co-exist – the place where the shapes of deepest hope challenge life’s disappointments.”