Best way to start: Photo shooting. Half for fun, half for inspiration. I don’t rely on photography for sculpture because nothing compares with being with the person. Photography is inspiring nonetheless.

Click on 360p then select 720p to see the video in full resolution.

Sandra Falga spent a week with me so we could start a very intense/interesting adventure. I’m glad to work with such a professional model.

Keep in touch for new photos/videos of the art creation.

From my first contact with Jason Nickens, there’s been a very good vibe and I think it’s showing up in the interview. It’s been fun, hopefully readers will get away with useful insights about my process in general, especially my mindset.

On my side, the bonus is that sitting down to think and answer to questions totally clarified what I do and refocused me.Looking forward to our 2012 sequel.

Enjoy.

STAMP Artist Feature #40 – Seb Zar

Hello folks! I know it’s been a while, my apologies. Managing a lot of different tasks in the backend of the business takes it’s toll. But slowly things are taking shape and a better experience is soon to come. I would like to welcome you to our 40th installment into the STAMP Magazine Online Artist Feature Series. It took me a while to catch up with this artist, but I’m sure glad I did. Coming from France this sculptor takes a lot of pride into the process of his work, breathing life into new and challenging experiences. Though this takes a mountain of time, Seb took a second to give us a truly in-depth look into his life and journey as an artist, while leaving nothing to the imagination. It’s all here in our conversation, so enjoy……

STAMP: Introduce yourself. Where are you from and what is something you want the world to know about you?
Seb: My name is Seb Zar, I was born and raised in France, and still spend most of my time in this country, although there is a clear tendency toward traveling and spending time abroad developing. International artists are about the mindset first and foremost.

Sculpture is my passion, but I also paint, draw, and am happy with whatever activity allows me to express creativity.

STAMP: When did you become interested in art?
Seb: I’m probably the perfect example of the person who came to art late. I didn’t grow up in an artistic environment at all, although my parents have always let me explore what I was passionate about. Even the craziest things such as racing motorcycles at 250 km/h. However, we can’t say I became artist. As Steve Jobs said, we can only connect the dots backward.

Today it’s obvious that it was there from day one. For as long as I remember, I’ve always felt different, a difference that needed to mature inside before it could burst in the world. Back then, the way society was designed, at the stage of evolution it was in, let’s say I’ve had to step away from the box in order to find myself. Stepping away from the box is a nice way of describing a long struggle to deprogram myself from a lot of limited beliefs. It is not something I’m angry about, actually it was perfect because once I discovered my true nature of being artist in 2005, I was 26, so even right now as we’re talking, I am still a baby artist, full of passion and with a strong desire to discover. With the extra bonus of having had time to develop as a person. We see a lot of kids who start an activity at a very young age, giving it up when they turn adults. Because we all have to find ourselves at some point. I also have to say that with this unique background, I feel a rush to achieve my artistic goals, which is a good motivation.

The only drawback of coming to it late, is that it’s been extremely challenging to transition, because first of, you have to die in your “old life”, then you have to find the strength to reclaim what you are, in a society that doesn’t understand your intention, and is organized to give you a hard time as soon as you affirm your difference. In my case the result was that I developed a sense of guilt or self-consciousness of being what I am. It’s been my focus to realign everything, from my values to the attitude about it all. Knowing from the very beginning that I was different and had something immense to share with the world is one thing, reclaiming personal power, turning the potential in reality is another story. It is still a work in progress by the way. I think most of us fail to achieve this. But as you know, the Universe is magical, and when you show you want something bad enough, it always supports you.

In many forms. Beautiful surprises, for example seeing the perfect people appearing in my life at the perfect time. I’m especially thinking about people such as Charlaine Perin, Cynthia Occelli, Keith Ferrazzi, Fred Delavier.. Through their work, through their supporting words or actions, through what they mean to me, each one of them has been playing a part in who I am becoming. What a blessing. Of course my parents and sister Carole have been a great support as well. By the way, Carole is a very talented painter, I heard you like to interview artists.

STAMP: What is your medium of choice and why?
Seb: My medium of choice is clay. The finalized sculptures I create are cast in Bronze or composite materials, therefore I am always starting with a sculpture using clay. Clay is such a wonderful material. It’s very sensual which is key because I rely a lot on the sense of touch. It also allows me virtually total freedom in the forms and volumes, as well as the possibility to change volumes quickly. This quality takes a lot of practice to actually be a quality. Because infinite possibility means that it is so easy to get lost or intimidated by it. You really have to take the lead and build self assurance in your approach. When mastered, it’s a beautiful dance taking place.

That being said, as an explorer I constantly play with other mediums such as stone carving or creating directly in metal. You know the saying: leave no stone unturned. The knowledge transfer from one field to another is always important. Also, I draw a lot. I used to hate to draw, but past some point you can’t leave anything up to chance. Any weakness shows up in the result.

I am still far from mastery, but improving everyday. That’s what matters, and that what you have to take joy from: the process.

STAMP: Did you study at an art school? If so which one and how was that experience? If not, do you wish you did?
Seb: No art school. At all. The total sum of my art education is a 3 day sculpture class. That’s when I fell in love with sculpture, in July 2005. This particularity of not being formated in any school, combined with having discovered art late, is in the background of all my actions. For sure it’s been challenging because I had to learn by myself, failing a million times. But as a result I am an artist who never comes from preconceived ideas when a new situation arises. Everything is possible.

I think art schools can give you a solid structure and guidance at first, but after some point they trap you into a formated way of thinking. So considering art is all about individual expression, there’s a contradiction risk. If the student has the ability to learn then detach, fine. Otherwise schools can represent the death of the artist. My advice would be, take what you can learn, then move on and focus on your own voice. All your answers are inside.

Thinking back about July 2005 is kind of funny because I really wasn’t attracted by human body sculpture. For some time I had had this desire to create shapes, a desire gradually increased in the two years before this first contact with art. But I was feeling very shy in front of a block of clay. One day I randomly came across an ad for a sculpting class to happen a few month later. The 3 day class was all about sculpting the human head in clay…hum… I remember looking at the great works by past students, as well as the masterpieces in museums, and thinking to myself there was..”No way on Earth!”, I had the talent to do that. But I thought it might be a good idea to push myself in order to get rid of this shyness in front of clay. The rest is history.

So the lesson here might be to try things, especially things you’re not obviously in affinity with. Good surprises are waiting for you in the unknown.

STAMP: Out of all the mediums you can choose, why sculpture?
Seb: Tell me I can’t manage to do something I want to do, and you will see me doing whatever it takes to prove you I can. Well, sculpture tells me I can’t every single day, so I love it! I’ve never found a more challenging art.

Knowing you’re on a journey that will be successful only if you grow everyday is very seductive/addictive. Also, I love the idea that a sculpture is something you can touch. It’s tangible yet it expresses ideas. I like to feel physical resistance when I create art. My body moves around the piece, having this dance that becomes instinctive, a unique dance because it leaves track, tool marks, as symbols and physical proofs of action, of moments of high inspiration. I could be a dancer, the only difference is I use clay to freeze movement forever.

STAMP: When did you begin seeing notoriety for your work?
Seb: I don’t pay attention to notoriety. I see it as a consequence, certainly not as a goal. It can be a tool and help, so of course it doesn’t hurt. But clearly my focus is on pushing the envelope, not looking for exterior motivations. And the funny thing is, when you focus on doing great work, being noticed is effortless. My way of thinking is simple: I want to create the best art possible. Critics and supporters have no influence on what happens in the studio. Ultimately my goal is to share the art with the World, I want the world to look at my work and see it as a proof that we all have an infinite potential. I hope my creations make them go home with a desire to ignite their greatness no matter what their passion is. This is how we’ll evolve as a civilization. By inspiring each others.

That being said, I hope people don’t consider I’m a cold person. If you like my work it means it is successful in inspiring you to elevate. It’s a success for you, for all of us and I’m happy about it. So keep sending love letters!.

STAMP: There isn’t much coverage on your work. How were you able to get your work seen? What ways of self-promotion did you use?
Seb: You’re right. Although sculpture has been around for millennia, it is still mysterious to the general public. Last June I held a one day sculpture demonstration in partnership with a sponsor. Not long after the demo started, people started to ask a lot of questions about the process, the how and the why. It was great to be able to have this conversation with the public, and it made me realize you have to educate people about what you do.

As artists we become extremely specialized in our field, basically thinking about art all day long. Therefore it’s easy to lose the sense of perspective and expect people to be as aware as you are, which is rarely the case. I believe that once people understand what you do is all about, they fall in love with your story.

All about communication. Your story gives a whole new dimension to your work.

STAMP: Have you done a lot of commission work? Name some of the clients and describe a few jobs you have done for clients?
Seb: My current approach is one of research as opposed to a commercial approach. Remember that as a sculptor I was born in 2005. Which makes me a baby artist. What drives my actions is to create an environment that allows me to do my greatest work, and learn as much as possible. As you know doing your best work means you have to be uncompromised about the hours you’re going to invest your art. Working with models, refining the work, then being lost a million times with your piece, scheduling more sessions with models, solving technical challenges etc… very long process.

So basically I separate the financial aspect from the art. Initially I was self funded, and gradually the project started to receive support from people who share my vision. Once you’ve created your system, it’s only a matter of increasing numbers.

That being said, I’m starting to be open to commission works with an upcoming sculpture for a magazine, making sure the commissions support my unbreakable rule of performing at my best level. My goal is to create monumental sculptures with large impact, so obviously the way to arrive there would be very different for a digital painter, for example. There is no single universal recipe. It’s about giving it your best, having a clear vision and being open. The Universe has funny ways to deliver.

STAMP: Do you work with art directors? If so do you mind to express your feelings on working with art directors?
Seb: Not usually. If the project is going to involve other people, I like to make it a team collaboration instead of letting a hierarchy come in the way of quality. For my next sculpture the art collector and myself have discussed the theme and a certain gesture she would like me to incorporate in the piece. We discuss it and make sure her desire will serve the piece. But it’s an exception. Overall, people come to me with a knowledge of the philosophy I described in the last question, so if they come to me it is with trust that I will do my best, and I make sure to not disappoint.

STAMP: Let’s focus more on the art itself? How long does it take you to make a typical sculpture? Do you mind to explain the process of how you create your work (from start to finish)?
Seb: A typical sculpture is a succession of many steps, each of them determines the success of the following step. It starts with an idea I develop mentally. I will then draw concepts, focusing on the gesture and general mood of the piece. Trying to be very clear about what I want the piece to express exactly. The following step is to sculpt small maquettes to validate the ideas in volumes. Usually I sculpt more than one in order to explore and select. Then I will sculpt a larger maquette, focusing on the anatomy. I will work on this small piece until most artistic choices are validated, and making sure the structural challenges are solved. Models are important at this point. Once the maquette is done, I will weld a very strong metal armature for the final sculpture and start the dance with clay! This step can be very physical depending on the scale. It’s really a magical time, most of the time in trance, listening to music, sometimes working entire nights. The last step is to refine the surface, textures are important.

So at this point, the creative work is over. You are in front of a beautiful work of art, however it’s a clay sculpture. Delicate and fragile. If you want to be able to keep it for centuries, you have to reproduce this sculpture in metal. The first step is to make a mold of it. Usually it’s a very complicated and expensive step. From this mold, the art foundry will go through different stages in order to cast the piece in metal (traditionally we use bronze).

I’ve been developing a technique to create sculptures using high tech materials as well. I like both traditional and contemporary techniques. I can’t tell you more for now. Let’s do a follow up interview next year so you can see the results this innovative techniques can produce! As you can see, sculpture is a long process. When you’re talking about time you are talking in weeks. When I see someone looking at the final piece and be moved to tears, I know it was worth all the hard work.

STAMP: Is there a problem finding work in this medium?
Seb: Not really, because you create the demand. Again, as long as the quality is up there, the rest is only consequence. If I ever start to have problems finding opportunities, my reaction will be to have a hard candid look at the quality of my work. Quality + reaching out to the right people is unbeatable formula for success.

STAMP: Do you ever show your work in galleries? If so, how do you feel about the experience? If not, why?
Seb: I am connected with a few important galleries, mostly in Paris and Asia. Great galleries are rare. They know and appreciate my work, and we all know my project is in a phase of art research more than a commercial phase. The next following year is going to be major in term of the development of my style, with new works that will validate all the style explorations and innovative techniques I’ve been testing. Technique is extremely important in sculpture. Material choices, structure design etc… most of these choices are made now, so I’m very excited about what’s coming next.

STAMP: When you are not creating art, what are somethings you do in your free time?
I do a lot of sport, lifting weights, running, squash, cardio.. there’s something about being fit, and it gives a much better understanding about the body… in a way, sculpting my own body makes me a better sculptor.

Beside, enjoying a good movie, connecting with my tribe of like minded individuals, meditation, motorcycles, cuisine.. I also love to travel, it nourishes inspiration. One of my goals is to move abroad, maybe not permanently, but long enough to be able to and let new environments influence my work in subtle ways. The idea of going in a country for a few months, meeting people and creating art, is very appealing to me. Upcoming destinations could be Asia where I spent time in 2009, places like Dubai peek my curiosity, and of course America as I have very good friends there.

STAMP: Since roadblocks come often in the creative world. Name a few tips or give some advice on how you find ways to get through those blank times?
My advice would be to build yourself a lifestyle that supports your art: make sure you have time away from the studio, exercise, meditate, go to places that are unusual for you and be open to new different influences. Love, cry, live life! Environment is crucial for artists. If the people in your life are full of life, you can’t feel uninspired.

On a more technical aspect, it’s always a good idea to work on several pieces simultaneously. Also, recently I’ve been alternating sculpture with other forms of creations, such as painting, drawing, designing a tattoo… it’s a good way to keep the creative juice flow.

STAMP: Are there any interesting projects you are currently working on? Care to share?
Seb: Currently I am about to begin a sculpture for the cover of a Chinese magazine. It is going to be a female piece on the fantasy theme. Another project is a male piece, monumental size. For this project I am training specifically, because sculpture bigger than life size require a lot of physical strength and energy. Which I love. I also have projects for charity. When you create your dream life it’s important to give back.

STAMP: What advice would you give a young artist just starting or trying to get started?
Seb: Focus on the art. Take the time to develop as a person and in your work. Don’t try to imitate, find your own way. Then share your gift with the world through Stamp Mag!

STAMP: What can we expect in the future from you?
Seb: More mastery, more interviews, more videos, more international projects, more abstract elements mixed with human forms, more creations I can look at knowing this is exactly what I had in mind and that I created them with zero inhibition… this is the ultimate vision.

STAMP: Do you agree with the overall objective of STAMP Magazine? Why or Why Not? And what ways do you feel it can improve?
Seb: From the very first visit I’ve been impressed by the quality of the site. You’re very selective. The featured artists create awesome art. Very often, looking at a creative painting inspires me to start to sculpt, so personally I see a great value in the mix. Following this idea, I’d love to have the opportunity to discover the creative process of artists from a larger spectrum, such as musicians, performers, video artists and so on. The more diverse the better! In any case, It’s a pleasure to be featured in Stamp Mag, thank you for having me and I look forward to follow this great source of inspiration.

See more of Seb’s work at http://sebzar.com/ visit his Facebook Page or on Twitter – @SebZarSculptor

You know that. In a World that pressures us to always go faster, to focus on actions rather than their meaning and implications, some of us choose to invest all the time and efforts needed to produce relevant legacy. Make no mistake, I do love the acceleration and effusion we’re part of. Pure creativity expressed. But I also know some things have to be accomplished with a dedication for excellence, even if it means we’ll have to be a little more patient before we can experience it. After all, great works of art always leave us with a sense of timelessness, so the time invested to create them seems irrelevant afterward. This value holds true today, more than ever. Who can tell me how long it took Michelangelo to sculpt his David?.. How long did it take Stevie Wonder to create “Superstition” (playing in my iPod now) ?.. The answer is: nobody cares. There’s no difference wether it took them 15 minutes or 50 years. When it comes to legacy, time is an abstract notion (well, it always is, actually). No, the relation between time and result is not linear. But one thing is for sure, all genius and especially instant genius, has been accomplished by individuals or groups who have ruled out time constraints. Genius is never forced.

Rhythms of creativity are a mysterious thing. Most of my effort is to create a lifestyle that allows me to make the most of inspiration, whenever it strikes. Fine tuning my human envelope through polyphasic sleep, meditation, physical training, diet, as well as inspiring conversations with some of you.

I am currently creating new art, integrating extensive researches on style, anatomy, materials and techniques. Will share it as soon as it represents where I am today. As soon as it is relevant to us. Not before.

Two international magazines have also asked me for interviews. Perfect opportunity to sit down and take a look at this adventure from a distant perspective. Busy and exciting time.

Thank you for accompanying me on this journey. Creation happens in isolation. Celebrating results is always something we do together.

Premier test avec la Plastiline Rouge fabriquée par J.Herbin. Désormais je vais avoir le privilège d’utiliser cette matière initialement utilisée lors de “L’atelier d’Alberto Giacometti” au Centre Georges Pompidou à Paris.

L’arrivée de la couleur à ce stade créatif est très intéressant. Je craignais qu’une telle couleur soit trop agressive pour les visages doux féminins, hors ce n’est pas du tout le cas. Au contraire, ce rouge terracotta donne un côté chaleureux au travail. J’aime également le côté traditionnel que cette matière va pouvoir donner à mes nouvelles sculptures qui promettent de pousser la stylisation.

First test with Red Plastiline, manufactured especially by J.Herbin. From now on I have the privilege to use this material initially used at “L’atelier d’Alberto Giacometti”, held in Centre Georges Pompidou in Paris.

The introduction of color at the creative stage is quite interesting to me. I wasn’t sure the color would suit to soft and delicate feminine faces, but it turns out to work very well. Actually, I find it gives a nice warm tone to the pieces. I also like the way it’s going to give a sense of tradition to my sculptures evolving in a more extreme stylisation.

On June 4th I held a public sculpture demonstration in Bordeaux. Partnering sponsor J.Herbin, manufacturer of Plastiline which is my material of choice for sculpture, and Boesner art supply retail store, this day has been a wonderful experience.

Le 4 Juin 2011, j’ai eu le plaisir de faire découvrir l’élaboration de mes sculptures en partenariat avec J.Herbin, fabricant de la Plastiline que j’utilise pour mes projets sculpture. Cette démo s’est tenue dans les établissements Boesner Bordeaux, le plus important revendeur de fournitures pour artistes.

Meeting and sharing my work process with the public has been a delight, people had lots of questions and a natural curiosity for an art form which remains mysterious despite the fact that it’s been around for millenia.

For a few hours it was finally possible for people to see me create, and even to touch the matter and experiment for themselves under my guidance, discovering a new dimension in their perception of volumes and forms.

The use of Plastiline has allowed me to place volumes and features rapidly, and modify the sculpture to create 4 different faces in just a few hours.

This experience definitely inspires me to create a show, using music and lighting. Sculpting Live and dynamically is an exhausting process. I like how it concentrates what I do with my life, in a very short amount of time. In both aspects I surrender and give everything I have. With Live shows, the main difference is that people don’t get to see the struggle of learning through failure. They only get to see the inspiring aspect. To me the struggle is a great thing, it is full of life lessons and the toughest most efficient character builder. That’s why I regularly propose creative immersions to motivated individuals, where they can spend 3 days living 100% in the same way as I live… training, eating, working with me, having the unique opportunity to get an insight about my philosophy of life and the source of what drives me. More often than not, it is a life changing experience for people who usually are from totally different backgrounds (CEOs, Branding or Marketing people, Engineers etc…). They can take these life lessons and apply them to their life and work (if you feel inspired to live such a life changing experience, please contact me at seb.zar.bourcheix(at)gmail.com )

Thank you to everyone who’s been part of it, especially Laurent Nusse and Cedric Martinet from J.Herbin, Beatrice Raphael and Stephanie Dublineau from Boesner Bordeaux, and my parents who took pictures and handeled the children who were VERY intense with the Plastiline . If you want to use Plastiline, which is the same material I use for my sculpture projects, please contact J.Herbin on www.plastiline.fr. Pro or amateur, no need to have a World level to be able to simply have fun and express yourself creatively (one of my strongest life recommendations).

I’m looking forward to the upcoming projects using this material (hint: I’m going larger in scale..).

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Rencontrer le public et partager mon processus de travail fut un régal, les gens avaient beaucoup de questions, ainsi qu’une curiosité naturelle envers cette forme d’art qui reste un peu mystérieuse malgré le fait que la sculpture existe depuis des millénaires.

Durant les quelques heures de la démonstration, les personnes présentes ont pu me voir créer, mais aussi toucher la matière elles-mêmes, pour expérimenter une nouvelle dimension dans l’expression créative.

L’utilisation de Plastiline m’a permis de mettre les volumes en place rapidement, et modifier la sculpture pour créer au total 4 visages différents en seulement quelques heures.

Cette expérience m’inspire la création d’un spectacle, incorporant musique et lumière. C’est un processus très intense physiquement comme mentalement, concentrant ce que je fais de ma vie, dans un laps de temps très court. Dans les deux cas, je m’abandonne et donne toute mon énergie. Lors des démonstrations, la principale différence est que le public ne voit pas la phase difficile d’apprentissage par les échecs constants. Cette partie ne représente pas une souffrance car elle est pleine d’enseignements précieux sur l’art, mais aussi la vie en général. Pour cette raison je propose régulièrement des immersions créatives, lors desquelles un individu motivé a l’opportunité de passer 3 jours à vivre exactement comme je vis: la partie création, entraînement, sport, nutrition, philosophie de vie, approche de la sculpture etc… Cette expérience représente en général un changement dans la vie de la personne, qui vient souvent d’horizons totalement différents (PDGs, Ventes, Marketing, Ingénieurs etc..). Ils repartent avec cette nouvelle perspective leur permettant d’utiliser ces nouveaux outils dans leur vie personnelle et professionnelle. (si vivre une telle expérience vous intéresse, me contacter seb.zar.bourcheix(at)gmail.com )

Merci à ceux qui ont contribué à rendre cette démonstration possible, en particulier Laurent Nusse et Cédric Martinet des établissements J.Herbin, Béatrice Raphael et Stéphanie Dublineau de chez Boesner, ainsi que mes parents qui ne furent pas de trop pour prendre les photos et canaliser les enfants très enthousiastes avec la Plastiline! Pour mes projets sculpture, mon matériau de choix est la Plastiline, si vous souhaitez utiliser ce produit, merci de contacter J.Herbin sur www.plastiline.fr. Ce produit se trouve également dans les magasins Boesner. Nul besoin d’avoir un niveau international pour profiter du plaisir de s’exprimer créativement par le biais de ce produit. Je créerai prochainement un article illustrant la création d’une sculpture pas à pas.

The more I surrender to the energy of trance, the more you come through.