The sketches and collages

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As soon as the age of 14, Comby is passionately fond of drawing. As a neighbour he frequents Mr Borie's studio, a master glass-worker who passes on to him his passion for drawing and recommends him to take the fine arts courses in Lyon.
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To a sculptor, drawing is somehow the warrior's rest.

After the physical effort, in the studio, standing, I enjoy,  in a first time, the feeling of peace, of physical rest face to the white page.


This corporal peace, however, is just a disguise, for the fight remains, in drawing as well as in painting or sculpture.

I remember Combet-Descombes' sketches : charcoal nudes, in a battle field black or of a mistery perspiring the hot embraces.

He was dead burnt in his studio on fire at the age of 84. I understood, through his work, among other things, what drawing was.
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For long, my work was fostered by the fascination of industrial researches. These sketches express, in the tubular complex of unhinged machines, an equivalent  derision with the human body, its bellows and the disused factories exhibiting their organs just like on an anatomy table.

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Water color was a damn subterfuge to unite color and shape. First in big complex, inside detailed monolithic blocs. Then in the series of carapaces.

I amorously cultivate the unconscious. I let it rise, drift away, invade the shapes, with no precondition.The mother shape, quite often, is a sort of trunk on two truncated thighs.
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In 1962 first, watercolour drawings, sorts of trunks with furrowed, lined, crackled mineralogical insides. Others, more organical ones, let unexpected dismembered or magnified shapes fall.

A long series was born, parallel to big plasters full of traps for light and shade.
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Then, after a leap of three decades, the almost daily sketch books : 500 pages each, both sides : a risky and unpremedited statement about the world as it goes, with its everyday procession : statements, fantasies, frenzies and observations. Eros and Thanathos mix one with another at the mercy of evenings and seasons. I don't want any comercial dismembering of them in the future.
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The collages from 1962 to 1970

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Glue was nothing but a practical method to display on carts, altarpieces, graves skeletons, the mushroom cloud surrounded with embroidery and braid; or the armed cow-boy too.

         
Collage, from press photographies bears many emotions to whom knows how not to deny them. But the art market had difficulties in compromising with the trouble makers. The painter Maryan, formerly openned up the road for us.
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