​Nuclear sites are installed "for the good of all" places can be extremely dangerous because of their proximity to the sea, seismic zones, faults, urban or industrial Seveso ...
The choice of slate, hard, impermeable but so fragile that they chose to protect themselves from the weather by covering our roofs, our minds and those of our offspring. Some small hammer have to dust ... The choice is reckless and criminal unconscious. As we "open" the skull directly hammers stupid. The color of the material is close to the stone on which is placed the lamp a little crazy (translation évaltonné Vosges) which has yet all the tools in his bag to repair his inconsistencies ...

​The complex of rhinoceros
The choice of ball clay is imposed both by the idea that the shape and tone.
A reminder of the warm colors of the tiger and the solitary walker cane has become contemplative and it was so obvious. Here's to the tone. The roundness of the mini-globes (terrestrial?), Like slices of cedar, as redundancy is focus. So much for the form. The idea about she has this crazy idea of ​​wanting to bury nuclear waste under tens of meters of clay at Bure in Meuse.
As if one could predict such long-term (a few hundred thousand years) stability of land and the will power, perseverance, a humanity capable of managing such a stock on a long period! These beads are fragile, too, they can explode and reveal a heart blackened by the merger.

​Dance of the cranes:
The plant is featured in this composition, the ubiquitous boxwood maze. The frame had to pursue the goal of making the place of "possible meeting" inextricable. This pile of lumber, washers cedar branches, sometimes resting on the side, sometimes lying flat illustrate this diversity that can exist between individuals from the same trunk. Duality (color, shape and posture), the wealth, the enumeration of these slices multi-facets of the same corpus emphasize this notion of unity in difference to the paradox of mixed gendered appearance.
A green stain came closer the content and tone of the container.

​Venice is sinking, unrelentingly… global warming is at work ! The ice field is adrift. Here again, a tribute to Isle of the Dead, the famous painting by the symbolist and romantic painter Böcklin, directly inspired by the cemetery of San Michele in Venice, whose cypresses have here been replaced by intercontinental missiles.
The danger is manifold. The political world, banks and other institutions that are controlling us on a global scale, with their wretched financial excesses, are totally apart, evading any control, just as some bombs that could destroy the planet. The famous “Gherkin” of London –the Swiss Re Tower (the second reinsurance company of the world, i.e. money insuring money), the so-called first English ecological skyscraper – can be seen turning into a drifting iceberg.
Back from the Isle of the Dead with its vestal, we see the gondola led by an admiral wearing the Bauta, the traditional attire of the Venetian carnival. In her hands, the vestal is holding a recent special issue about Venice published by Beaux-Arts Magazine, a media-centered showcase of the “ancient” and ultra-contemporary Art (coincidentally, my daughter gave me one of these as she worked for the magazine as an editor at the same time that I was asked to be part of the “COMPARAISON” Art Fair taking place under the glass-roof of the Grand Palais whose theme this year is “Venice and its lagoon”, with the maxi-realists led by Dan Jacobson, co-organizer of “ART EN CAPITALE”). But who (or what) has just been buried out-there right amidst nuclear missiles?
A monstrance altar, as there are many in the lagoon – due to Venetian boatmen's superstitious or religious beliefs - opens its tabernacle full of gold bars to invite the mollycoddled child to deposit his loot. The frog carrier, here broken away from the Punta della Dogana, was commissioned to the artist Charles Ray by the multimillionaire François Pinault, an apologist of the CA (Contemporary Art), owner and initiator of this cathedral dedicated to this hegemonic art. As to the mollycoddled child of a modern world, it stands for ambassador of the dreadfully luxurious universe of the CA collectors who are using this provoking and often sickening boon to flaunt the power of money. The green frog that the Native Americans relate to the dollar, for its green color, represents what will lead the world to its ruin.
The columns of the St Mark Square are slowly sinking too. The frog is enjoying it, jeering at it, croaking, wriggling, bloating … whilst the dragon ridden by Saint George, who is trying to overpower it, shatters its column as if he wanted to get away from it, at the same time spitting fire, fanning it and thus multiplying the amphibian. On the other column, stands the Lion of Venice (not the original one, in fact this lion comes from a fountain in Paris, the other capital represented on the painting), bravely spitting water. Would it be in order to extinguish the fire or would this water be polluted by the miasma of millions of seething tadpoles, ready to sweep down on anyone trying to show resistance ?
Between those two monsters, classical music. My muse who is a violinist, is holding out in this shambles, standing tall in the gondola which too, is sinking, much in the manner of the sinking of the Titanic, where the band went on playing despite the emergency.
Scientific data shows that a frog put into boiling water will instantly leap out of it whilst when put into cold water that is slowly brought to seething point, it will let itself be scorched alive. An allegory that seemingly applies to Man faced with global warming …

Saint-Avold the 20 may 2013 Bruno ALTMAYER