‘In 1976 the line has become much more important because it is at that moment, after this break, conceptual first and then a break, that I really invested this domain of the angle, the arc, and also the straight line, first in painting, then with the wooden reliefs, after which the structure itself transformed’.

‘My sculptures, undefined lines, arcs and angles are “self-referential”, they speak only of themselves; the big collapses have to do with a problem that is completely autonomous. A “self-referential” piece emphasizes the nature of the artwork itself.’

Bernar Venet, in conversation with Fanny Revault