Eric Schmitt

"A piece of furniture needs to emanate from the silence to be loved for a long time," says Eric Schmitt, who merely shows rather than demonstrates. The man hates to reveal himself so let his objects do it for him.
The naive arch of a marble cabinet or the soothing silhouette of a Jarre table that seems to be there "ad vitam aeternam" evokes a childhood spent in the Poitou Romanesque churches.
The expressive beat iron of the self-taught who forges himself all his first pieces: his rock period, barbaric, and city punctuated by the blows of his hammer-pestle.
Research on balance and the apparent loss of balance with tables and consoles in folded bronze or associated with materials that contrast with the rigidity of metal materialize the abandonment of ornament.
The curve that he works relentlessly up to a vocabulary of forms that draws the personality of a utopian eternally dissatisfied.
The forest of Fontainebleau which overflows in his workshop and inspires freer parts: the symbolized nature found in the series of tree stumps and bronze rocks.
And then always, the chiaroscuro, the lightness and the density, the pastistic matters associated with those of today.
Everything that is fashionable goes out of fashion, said Cocteau, and it is always a little presumptuous to use the term "timeless" but Eric Schmitt's objects have an interest in deserving it because they are practically indestructible ... remains of a civilization still to invent.
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