Formes en liberté

From 1967 Martial Raysse moved towards an increased simplification of form. Neon sketches draw the primary elements of a new sculptural alphabet reduced to its essential elements (Quatre Néons pour Alexandra, 1967); faces reduced to an anonymous outline, a star, a palm, the last letters of the Latin alphabet “x”, “y” and “z”: these forms all become liberated, both through their support and colloquial context, and thus re-gain freedom. Conceptual gestures, and forms in freedom become the artist’s ‘thought prototype’, archetypal forms reproducible in any material – cardboard, papier-maché, craft paper, wood or muddy paste – signs of a new sculptural writing that conincide with Raysse’s progressive detachment from the official artistic world and a new flowering of his creative vitality.