Whether considered as an object or as a material, rope offers a wealth of symbolism and uses throughout history and civilisations that never cease to fascinate Laurent Nicolas. A crucial element in the origins of geometry, it was used in the social organisation of the Incas in the form of quipus. In Japan, the rope can signify the sacredness of a place - shimenawa - or be used in a martial art consisting of tying up an individual - hojojutsu - of which shibari is the erotic counterpart. In his studio, aware of these uses and of the strong symbolic potential of the object itself, Laurent Nicolas has taken hold of ropes to bind, tie and knot pieces of raw clay. This practice tells of an intermediate state between before and after firing. The rope imposes itself when the clay is raw, it shapes and transforms it. After firing, the frozen clay imposes itself in turn, forcing the rope to adapt to find its place. The act of knotting, both binding and holding, is close to ritual. The knots are similar to synapses that exchange vital information, opening up a whole field of interpretations on the creation of networks and connections. Several pieces are enriched by external elements, veritable "support-grafts" that complete the sculpture and literally support it: the materials and techniques chosen for these tailor-made pedestals dialogue with the roped work, in opposition as well as in rapprochement. Contextualising a piece means enriching it with an additional debate: it is the beginning of a conversation.
