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Remy was born in Paris in 1983, in a city where matter carries memory.

Here, form exists before intention. Long before sculpture became a practice, it was already a presence something that stands, even when everything else moves.

 

As a child, Rémy wandered through museums and workshops, not searching for meaning, but sensing what endures. Plaster dust, stone, silence, hands at work. He learned early that emotion looks for matter to exist, and that form is often the only place where the soul can settle.

 

This intuition never left him.

 

In his work, figures appear in states of suspension. They pause. They carry. They wait. Bodies hold weight without display, balance without certainty. Childhood and gravity coexist. Fragility and endurance share the same space.

 

Space enters his universe naturally. Not as distance, but as scale. A way to feel how small a body is, and how vast an inner world can be. The astronaut emerges as a figure of exposure, a body facing immensity, carrying more than it should, yet remaining upright.

 

Mendel took shape through resistance. Through limits. Through fractures. When perfection could no longer hold, something truer appeared. A fragile equilibrium, where innocence meets weight, where what cannot remain whole finds its form.

 

Other figures inhabit the same gravity.

Feminine forms, grounded and dense. Bodies shaped by mass, by presence, by time. Curves are not offered; they are assumed. Each volume is placed with necessity. These figures do not ask to be seen. They remain.

 

Their stillness holds tension. What they carry is not shown, but felt.

 

Gold settles on the surface like a skin. Light touches, hesitates, breaks. Fracture is not an event, but a condition. Nothing is corrected. Nothing is concealed. Each piece holds what cannot be resolved, only carried.

 

As the work advances, forms withdraw. Gestures tighten. What remains grows heavier.

What is at stake is no longer the figure itself, but what the figure allows to surface.

 

Rémy works where the hand remembers and matter responds. Tradition is not referenced; it is lived. Technique is not displayed; it is absorbed. Matter is not shaped to express an idea, but to receive a pressure.

 

Here, the hand no longer seeks expression.It listens.​

 

Rémy’s work is the capacity to contain what has no place.