Page 424 - Christian Maas Full Book

titudes both originals and at the paroxysm of a particular vision of daily eroticism. A great tactile

sensibility emanates from these bodies made as symbols of our era’s woman. Christian Maas’s sculptures

never are static. They underlay correspondences and rhythms that differentiate them from any other art-
ist’s feminine or erotic sculptures. Works transcribing sensuality they call for gaze’s intelligence and for a
pantheism which awakens the mind.

While working with Asian models, for example, Christian Maas discovered new mo-
tions only pertaining to Asia, like Rodin in his time had worked with King Sisovah’s danc-
ers who had seduced him during a stay in Paris. These girls indeed allow to study poses which

were incomprehensible for the public of that time, but do not offend anyone in Christian Maas’s

statuary.

Maas’s works are stages of lived experiences, restored in the intimacy of the sculp-

tural process, favouring supremacies of the heart’s ardour over the mind’s hair-split-

ting. It is easy to recognize its filiations among the works which marked a more ritualis-
tic, sacred and sensible attachment to the expression of fundamental and natural forms than
the reasonable speculations of more specially artistic manifestations.

We will now come back, as a conclusion, to more technical considerations about Christian Maas’s
works and proceed onto the analysis of this uncommon artist’s way of working, as a creation bulimic
who has not yet attained the plenitude of his power of expression, but has found in a sort of haven of

hieratic grace enough self-confidence to unfold his talent.

Christian Maas is a researcher, however one doesn’t judge an artist on his efforts but on what he
does when he doesn’t exert himself. Christian Maas only has the faculty to say what he does want, and

how he wants it and he spares his words.

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