Corpses, mortality and blood: is this the formula for death?

Olivier De Sagazan investigates show much life lies in mortality and how corpses can be more full of existence than humans. His sculptures best represents the darkness we all have in our soul, merging Eros and Thanatos in a bloody mix.

You are a very innovative artist, blending various techniques – performance, painting, sculpting – but what is the most difficult to do between them? Have you got a technique that you feel most yours?

 

The painting is the most complicated for me, because more abstract and the question of the bottom is actually really difficult for me: Francis Bacon success to find an amazing solution with a background abstract and very suggestive at the same time.

You investigate death and life in your works, representing dead people with a lot of blood. Some of them, I see, are faceless. Is identity linked in certain way to death? What do you think?

 

We are programmed to death. Most of our cell is the possibility of 36 divisions, after they cease to divide.  But the interest, to me, is the contrast between life and death like light and shadow in a painting, where one can see how they reinforce each other. To think to the death is interesting just to appreciate more the life. The goal of all my project is to arrive at some moments of great presence between me and myself into the world. To represent corpses is also a way of putting death at a distance, objectifying it, trying to understand the passage from the fold of interiority in the living, to the unfolding towards of the inert, the inanimate.

Eros and Thanatos is a greek concept about basing life on love and death. Do you put love in your work? Is it love important to investigate certain traits of our soul? And death?

Yes love is very important for me and I make a lot of painting on this and I made also a performance about it: Hybridation. But here, I like also to try to go very further and see the act of love like a fusion of the bodies, two bodies try to become one only flesh.

You use several layers of clay and paint on your face to disfigure your body and reveling the hidden nature of ourselves. What is it made of? Have you caught something about human souls during your creations?

It is impossible to speak about this, I just try to extract some images of my body the more deeply possible. I see like unnamed organic conglomerates fascinate me.

What is the darkest side a human can hide?

It would be to give oneself the right to satisfy his impulses whatever the cost.

You said that we live in a “mask of collective hallucination”; this reminds me of Pirandello’s works. Like him, do you believe we hide our true being and face reality with a created self? What is your created self about?

Yes, this idea is the underlying reason for my work, I think that our whole life rests on a kind of unsaid. I was like thrown into the world, I am there with my body and understanding nothing. But we never speak of all of this and yet, it seems to me that this should concern us in the first place. It is therefore probably the biggest taboo we have, and the idea that our life has no meaning and a mere chance effect is unbearable. Faced with this, my job is to make images as striking as possible as to say look at, that’s what we are, wake up!