In Sonnier’s sculptures, the viewer is a pedestrian: he moves through the space and senses the light. It is this combination that is important to the artist. Light can be perceived as a volume that one could physically move through. In what he calls his ‘floor-to-wall works’ — in which the floor and wall become the sculptural support — “one can move into the pictorial space, and in doing so, one becomes aware of the parameters of the space.” Sonnier’s sculptural objects can transmit or project light. He stresses the psychological aspects of the light in the viewer’s encounter. Whether it is clear and direct or not, according to the artist the light has an affect: “Light on the surface of the body affects the mind.”
In-between space. Sonnier divides different periods of his work with regard to how he thought about space and how he used it. He states that his first objects were based on the five senses: “on how something felt, or looked, even on how something smelled.” While making these works, he noticed that there were different associations coming up. “In the end, the most intriguing thing about the sculptures was that they became about the space in between, and what actually happened when you physically got inside the piece and how the body actually felt being there.” Addressing this in-between space was the start of Sonnier’s idea of the viewer as a pedestrian: he focused on how someone would move within the space that was created by the artwork.
122 x 112 x 48 cm
October 21, 2019