Accepting Their Strangeness: the Sculptures of Clementine Bal
With works that simultaneously convey the awe of nature and the whimsy of fairy tales, Clémentine Bal sculpts a world full of wonder and imagination. The sculptures, which have appeared in shows at venues like Thinkspace Projects in Los Angeles and Gallerie Zberro in Paris, range from palm-sized pieces to statues that stand over three-feet high. Her otherworldly creatures often bear some resemblance to those we see in on Earth—like antlers or long, hare-like ears—but what makes them feel very real is how she positions them.
The emotions conveyed by Bal’s characters extend beyond their facial expressions and into the postures they hold. Some are caught in intimate moments, like couples mid-kiss or mothers bonding with babies. Others appear to be finding peace in solitude. Still more look as if they could use a helping hand.
Bal’s work also includes anthropomorphized mountains and volcanos, which are sometimes grouped together creating landscape-style sculptures that draw viewers into a magical place where everything, including the land we walk on, is imbued with a human-like spirit. Altogether, her sculptures prompt viewers to tap into their childlike sense of fantasy and discovery to imagine the stories behind these pieces.
“I grew up between the mountains and the seaside,” the French artist says in an email translated to English. While acknowledging that the nature she knew as a child is a part of her work, Bal adds that there is a greater influence. “I think I’m more inspired by the stillness than by nature itself,” she explains. “And in the tranquility of my studio, I will draw on my many memories and my childhood emotions. This is without doubt my greatest inspiration. I like to dive back into this world of discovery, creation, games, and intense emotions. I remember my favorite books, my cartoons, my happiness, my fears, and my anger.”
My recent characters have their eyes open to the world and accept their strangeness.”
Similarly, Bal’s work in also influenced by her adult life. “My children also inspire me a lot,” Bal adds. “My characters have sometimes taken their looks, their postures, their reactions. I believe that there is an important part of self-portraiture in my characters.”
In building this fantasy world, Bal draws from personal influences while creating sculptures that reflect universal experiences. Her series of Maternity sculptures—like “Birth of the Little Child” and “Delicatus to the Child”—depict the tender intimacy of parent-child bonding. Her sculptures of sleeping creatures capture the beauty of rest and pleasant dreams; and they can fit in your palm.
Even in stillness Bal’s sculptures can be quite dynamic, like “Child of the Sea III,” where tentacles appear to be blowing in the wind; and “Nebula,” with clouds that seemingly float around a creature who appears to be in the midst of an active meditation.
Earlier characters in Bal’s work frequently appeared with their eyes closed. They often looked as if they were engaged in deep reflection. Lately though, she has veered away from this style. “My recent characters have their eyes open to the world and accept their strangeness,” Bal says. “I need lightness, and I want to have fun with them.”
With the addition of large, energetic eyes, Bal adds a playfulness to the characters. They side-eye viewers with a hint of annoyance or frustration, widen them with glee, and sometimes seem to shoot mischievous glances at other figures.
Bal’s work begins on paper. “I start by filling out sketchbooks. I do very small tiny drawings, a few pencil lines,” she explains. “The materials I then use vary depending on the shape and size of the piece I want to make. Sometimes I take clay that I mold with plaster, sometimes sculpted polystyrene. Then, different layers of materials are superimposed (resin, fiberglass, epoxy clay, putty, etc.) which will be sanded down for a long time so that the curves are soft. Then comes the painting.”
I like to dive back into this world of discovery, creation, games, and intense emotions. I remember my favorite books, my cartoons, my happiness, my fears, and my anger.”
Bal’s sculptures are also notable for their smooth surfaces and the gentle curves of the figures and faces. Her series of anthropomorphic mountains and volcanos, with their defined facial features, puffy cheeks and expressive brows, highlights these traits of her work.
Her piece “Les trois Montagnes” depicts three mountains exchanging glances with each other. Their bright eyes and jubilant cheeks could prompt the viewer to wonder what moment they are witnessing. Are the mountains plotting a prank? Did they just share an inside joke? Elsewhere, Bal’s mountains take on different characteristics. Some appear solo with their heads literally in the clouds. Others are part of pairs or groups. In her recent work, Bal says, she often puts together pieces as families. In a few works, these small clusters of mountains are joined as islands, with colorful bases resembling bodies of water.
What is interesting about these pieces is that, despite the strong and still bodies of the mountains, their facial expressions indicate that they’re interacting with other. In some instances, the mountains seem as if they are huddling together for warmth. In others, they appear too close for comfort.
Similar to the mountain sculptures is Bal’s series of volcano figures, which have manifest both as lone figures and in family units. Large, colorful, cloud-like shapes emerge from their peaks and their facial expressions reveal different reactions to the eruption. Some grimace, as if they are trying very hard to blow off steam. Some look surprised or embarrassed. Others appear to be in a mediative state where they are finally relieved of the pressure that had been building inside of them.
“Volcanoes are a great metaphor for creative or emotional bubbling! So it’s an abundance of colors that escape,” says Bal. “But apart from the multicolored fumes, I look for the simplicity of the forms.”
Ultimately, it’s the figure’s form that takes center stage in Bal’s work. “My characters have clean shapes that allow me to focus on their faces and their expressions,” she says. “The shape of a hill or a rock is enough for me. A look at any shape creates a character, as children are used to imagining.”*
*This article originally appeared in Hi-Fructose Issue 63, which is available in print here.
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Photo by Felisa Tan Photography www.felisatanphotography.com @felisatanphoto
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