Endless Maze Column

In continuity with my work on construction, the labyrinth has pursued me for many years. Universal and rich in meaning, it touches on existential, spiritual and psychological questions, while also being a powerful aesthetic and narrative motif in art, literature and culture.

It invites reflection on the meaning of the journey, the quest for self and the mysteries of the human condition. It offers a fascinating backdrop as a metaphor for life, with its choices, dead ends, detours and moments of clarity.

It illustrates the idea that the path is not linear and that wandering is part of existence. Although it may seem chaotic and infinite to those who lose themselves in it, the labyrinth is an organized structure.

It is this organized, graphic structure that interests me. The labyrinth radicalizes my approach: you are inside without ever knowing where the outside is; from the exterior, you perceive a structure whose internal logic remains opaque. In glass casting, this duality takes on an additional dimension, because the material itself is a borderland: from transparent to opaque, from the living to the mineral, it lets light through while arresting the gaze.

It was five months in the making, from the design of the labyrinth, through the creation of the wax model, to the final casting in glass using the lost-wax method.

It follows my large-scale installation Blue Maze, created for my solo show at the Glass Museum in Charleroi in 2024.