On the highly symbolic site of the boring of the Channel Tunnel, Jean-Louis Garnell was able to confront his interest in contemporary sculpture with the disorder of construction-site landscapes. However, it seemed to him that the fortuitous sculptures he photographed were not enough to give a sense of his current approach.
Refuting theatricality and the spectacular, Jean-Louis Garnell worked on the virtuality of that European territorial development, which in 1989 was still nothing but an emerging concept, and even in 1993 was still hidden under the earth and sea. Grimly captured elements, materials and men constitute many elementary bodies that, confronted with one another, were able to achieve the transmutation that is the three diptychs completing the work. This notebook follows the progression of personal research and a creative crisis in the special context of a commission.