Huang Yong Ping

Giant Model


Artist Huang Yong Ping contacted me in order to finalize the model of his project which would become, one year later, “Empire”, his work for Monumenta in 2016. Composed of a serpent skeleton which undulated in the middle of shipping containers, the model was already more than a few meters wide. My responsibilities were first and foremost to create the miniatures of the metal supports which would support the serpent. I then needed to mold in resin the sides and the supplemental vertebrates, which were insufficient to complete this never-ending skeleton. 

I left the studio excited to have participated in this exceptional project which was both meditative and also allowed me to discover that a snake also has flanks and vertebrae.


The bicorne, Napoleon’s hat, was constructed on-site in collaboration with the artist using sheets of bitumen, shaped on a metal frame. As the epicenter of the installation, it floats above the middle of the central alley, waiting to be snapped up by the serpent. The strong smell of the tar, heated by torch, the shipping containers and this industrial harbor crane gave the workshop and the model an industrial atmosphere, which reminded me of Rotterdam. For me, this odor exalted the strength of the installation, and I was crestfallen for it not to be present at the final installation at the Grand Palais.


Because of this encounter, I had the privilege to share in the day to day life of the artist, within his studio and his home, for several days. I discovered a deeply sensible and generous person, whom I had the honor to assist with the rest of the project and see it through until its installation at the Grand Palais in Paris.






Huang Yong Ping

molding, casting


Les articles autour du projet

Containers, squelette géant de serpent, coiffe style empire de Monumenta Empire oeuvre de l'artiste Huang Yong Ping

Craft or Art

Not long ago, I was interviewed at the Gare de Nantes by a local journalist. The journalist asked me how to best describe my contribution to the concrete tree sculpture; as an artist or an artisan? Normally, this type of question would have left me speechless, had I not thankfully prepared a very polite, very vague answer:

“we are a bit of both”

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