Rémy Sorondo


Rémy Sorondo


‘‘Voyager’’ is a sculpture made for the ‘‘Alternative Growth’’ project, which aimed to make a structure allowing greenery to grow vertically on places in Gothenburg where one can’t have trees. It is a Gärdesgård - a traditional fence typical in the Swedish countryside - located in a city center, to make people aware of the rural exodus which happened during the industrial development in Gothenburg. People had to leave their homes to crash in a new world, the city. A situation somehow leading to a deconstruction of themselves in order to adapt to their new environment. I called it ‘‘Voyager’’ to remind about the situation back then, when it was a trip in a new world. For me it’s closely related to how a lot of people are living nowadays. There is a similarity between what the elders past through in the history - having to move or die- and what is happening to people around the world today.

Horace Optimus Pidwick the 1st

Horace Optimus the 1st is both a memento mori and a caricature symbolizing and mocking the idolatry and the way humans often delude themselves whether it is about the human condition, the “great people” from the past or the ones in today’s world. I also made it to underline the similarities in behaviors between animals and humans, especially in democratic societies and their leaders. With this piece I wanted to create a sculpture recalling these illusions, as well as the vainglory, showing the pride and beliefs that often causes it. And at last, this sculpture is a recall of our human condition and our fundamental equality, “Quod sumus, hoc eritis” means “such as we are, you will be”. Made of clay, Horace Optimus Pidwick the 1st will crack, scatter and fade away, just like us.

meaning, symbols and signs

This serie of experiments aimed to play with the symbolics of selectioned items, 36 in total, made of different materials and having different functions by changing, their aspect, their function, their context. Each item has been thoroughly studied step by step in order to have a precise understanding of each action and its consequences. I proceeded through different type of actions, the color and the deconstruction in order to have a series whose formal aspect is altered, and another whose structural aspect is altered. I also came to the question of the function where I tried alternatively to give a symbolic and a real function. And finally I put those items in different contexts either independently or in dialog in order to see, understand and , modulate the variations and their significations. I have developed it especially in the context of a tea table typically pictured in a 70/80 years old westerner’s environment displayed with music, more or less lights and conveying people for interaction in different ways. Looking at first cozy. inviting and old fashion the table soon appears to be the theater of an intriguing play, something had happened here, something that someone tried to cover though control with a layer of normativity


My idea here was to extract a symbolic ornament of a japanese armor from the 17 th century, to implement it straight into an item of nowaday’s fashion and see how it adapts, how its meaning is gonna be affected. Out of its context this symbol keeps a strong asiatic tone and the message of ferocity and strength as well as its ‘‘ baroque ‘‘ aspect stay still.Though altered by its new context, the symbol coming from a warfare field to an ordinary western fashion style keeps on playing its role as a social and identical ‘‘ show of’’ device while blending in utterly.


Pattern welded steel is a material filled with contradictions, the feelings and meanings it communicates differ from those which usually come from steel. Indeed, despite the material’s ‘‘nature’’ it connects your feeling to wood, due to its aspect and structure, each piece of pattern welded steel is unique, etherogenic, and evoque the organic as well as movement. Once a technique aimed for warfare and knife making I wanted to explore the material it produces through a more experimental and intuitive approach. Thus the material’s lines and structures induced me to choose a shape and a treatment over another, giving me a radically different insight about how to approach creation with steel.