I always thought the works destined to decorated architecture were interesting and well paid. It is useless to justified this live hood with theories such as "integration of the art", "democratization of the arts” or “art for all". I never benefit from this live hood but I made some interesting experiments. For instance, I was asked to realize an architectural work in a shopping centre in Brussels. I was presented plans, I visited a similar project already done and they told me what they expected. Naively I had the idea to propose, instead of a big work in the middle of the mall, a kid zone and a neutral zone for meeting. The architect, discretly scandalized made me understand I made a misinterpretation. His experience in America, where he studied architectural issues about shopping centre, taught him not to distract the consumers from shopping.

Any circuits of circulation was inevitably push to consumption and as for the children the usual games were enough, such as the horse, the rocket with inserted coins in ,were moving for a few minutes. What they asked me was to hierarchies’ space, to make it more exciting so the public is exposed to buy merchandise. Such programs have ridiculous budgets and easily forget a remunerated collaboration and prefer convenient settings.

Almost all my experiments in plan, in reliefs, in movement and in light can be enlarged and adapted to architectural spaces. But it doesn’t guarantee anything. What matters are the circumstances and the context where they could be applied.

Realizations

In 1983, I create a monumental work. One in Fuenginola in Spain organised from a group of painter from Malaga, with the support of the community. The idea was to transform the town into a museum.Thats how contemporary artists covered the buildings wall with their work. I personally realized a 150 sqm² wall painting.

The other event was to the initiative of the great Colombian sculptor Edgar Negret. It was about realizing a park of sculptures on the hill In the middle of Medellin. Some Latino-American’s artist were invited to Medellin with their projects. They only had 15 days to solve all the technical problems of realisation, and to install their work.

For me, I realized my project in a wood school, equipped with a huge workshop. They were all sorts of machinery and a team of teachers willing to help as well as many enthusiastic students who identified themselves with the project into an intense team work.