At the Hôtel Biron in Paris, Rodin’s sculpture inhabits an architectural grandeur where light streams into the rooms. In contrast to Rodin’s forms in marble, plaster or terracotta, there is a subtle surrounding geometry in these rooms, visible and invisible, created by mirrored light and form on glass and Perspex. The context for the sculpture is perfect.
From my first photographs taken in the museum in 1996 with a mini Pentax 110 (which I happened to have in my pocket), until 2006 when my book Apropos Rodin was published, returning to take photographs became an obsession. It’s a place I love to return to “en promenade” as it were, as if it were still Rodin’s studio, a friend’s garden, or even a wildwood.
Light serves, in conformity with depressions and reliefs, to give the eye the same sensation that the hand receives from touch. Auguste Rodin