Form and substance come together and the use of bronze, in its most primitive way, stressed the subject of Mazel & Jalix, staging the simplest aspects of life.

On boxes, pedestals, plates, the fruits stand but never freeze, so many vanities placed in the garden of Hesperides where fruit at the center waits to be selected and tasted, not as an object of conflict but of pleasure, then the bronze becomes a living object of desire. However, the careful observer will see that, here and there, withering already appear and the fruit, too ripe, stains and bends under its own weight. Decomposition is already there, leaving its stamp on Mazel & Jalix’s work. Create brings the work to its end, its decay, but subsequently the fruit returns to the earth in an eternal renewal.

Such as 18th century’s Naturalists, Mazel & Jalix build a ‘natural’ collection between the research and idealization. Sculptures’ titles reduce works to studies. It is to gather and name a chosen specimens set, emblems of a changing nature.

Interview : 

Why did you choose sculpture ?

Jalix: Graduate in horticulture, sculpture allows me to reveal that fascinating plant world and the choice of bronze was imposed on me by its sensuality. I like playing with the disproportion and highlight little details, those that no one sees but which take an extraordinary dimension for me.

Mazel: we wanted to be able to touch, with the tip of our finger, life in all its banality and sensuality: what I mean to say is that painting wasn’t enough and we needed to move onto working in three dimensions as a way to highlight my subjects.