The tinplates

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Comby often changes material, further to an exterior event which suddenly commands him to test his capacities differently. It becomes necessary to put himself into a new technique when the material he uses does not provide enough for imagination, when he feels he is a prisoner of his virtuosity.

At this moment the search for a new technique, a different material, arouses his curiosity and allows Comby to give again, his creativity, new rein.
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One does not work on plaster, wood or metal in the same way. The different metals each have their own technique. As he carries on with his researches on "lost wax" for the melting of bronzes, Comby is attracted by the malleability, the flexibility the "poor child", fragile, aspect of tin.

In order to avoid oxidation of metal, some tinplates are painted.




The experience starts with the metamorphosis of beer and food cans into suspended figures on a base, into "winged Icare", dancing couples with, of course a few skeletons.

With happiness , he gets back to the hammering of metal, the stamping of sheet metal, the reflection given by hollows and bumps. It's a different metal but the style remains the same : carapaces, barbarian heads, women heads with luxuriant hair, boats.

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Comby's drawings and sculpture publicly expose his "inner self", but his joy too : It's obvious that he enjoys himself as he works.







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