to life in his sculptural compositions. This technique, inspired by the
, allows David to create intuitively, letting his subconscious guide his hands as he works with various materials.
As you explore David’s artworks, you’ll notice how he skilfully transforms recycled elements and archaeological remains into captivating sculptures. Each piece is a journey of discovery, where unexpected forms emerge from the artist’s deep well of creativity.
. You might observe how his works evolve over time, with dust adding a dramatic and romantic quality that enhances the contrast between manmade elements and organic change.
This innovative approach, combined with David’s expertise in conservation, results in sculptures that vibrate with the essence of the past while exploring the ephemeral nature of human creations. As you view his work, consider how each piece reflects the power of intuitive, subconscious-driven artistry.
Feel free to immerse yourself in this page on a wide screen. Your insights and reflections on this artistic journey are greatly appreciated.
|
Le Môle de Wilma, February 2017 (17 x 27 x 17 cm)
Nous avons gravis presque jusqu’à mi-hauteur du sommet du Môle, par un sentier abrupt.
C’est là que je récoltais cette pierre, lourde de symboles, dans l’espoir de lui rendre hommage, en ce jour de silence imminent, qui se rapprochait, implacable et trop rapide.
|
Smuggling & Justice, May 2017 (40 x 90 x 20 cm)
In the world of archaeology, the delicate balance between discovery and preservation is often threatened by the shadowy realm of smuggling. Ancient artefacts, ripped from their historical contexts, become commodities, fuelling a trade that erases history for profit.
Yet, justice seeks to reclaim what is lost, to protect cultural heritage. In this tension, the composition is held in a used gun case—a symbol of the dark forces at play and the lengths to which some will go to conceal or transport stolen relics. The case, once used for violence, now cradles the very history it seeks to protect, underscoring the perilous intersection of justice and greed in the world of archaeology.
|
VERBOTTEN FERGOTTEN, June 2017 (27 x 60 x 43 cm)
I could have given this structure countless names, but what held my thoughts captive were the growing burdens of legally handling this aged material—both forbidden and forgotten, slipping through the grasp of time and law alike.
A defunct note, whispering echoes of lost value, an obsolete dial suspended between remembrance and oblivion, a scattered pile of artefacts, their meaning faded, yet still bearing forever the quiet imprint of ancient mastery.
|
Old Science Music, July 2017 (30 x 90 x 30 cm)
This is a personal confession – a reflection on all the wishes that eventually turned into failures. Each desire, once full of hope, crumbled under the weight of reality.
Over time, I found myself restoring failures, not just in my mind, but in tangible form.
In this case, the failures became something more than memories — they merged into an object, something I could hold and observe. What once seemed broken and lost has now been transformed into a physical presence, a reminder that even in failure, there’s a chance to rebuild, reshape, and find meaning in what was once discarded.
|
Autumn Barn, October 2017 (36 x 60 x 60 cm)
A barn where, as Swiss military conscripts, we used to sleep above the cows in the hayloft.
Fragile leaves are my companions on a restful night, while ears stay alert, struggling to maintain a connection with the outside world.
|
Bottle Leaf, April 2918 (35 x 15 x 15 cm)
A part of my life has been shaped by sailing on our lake, where 26 different winds constantly challenge the sail, making each journey unpredictable and intense.
Danger always lurks, particularly when the weather forecasts are proven wrong, and the wind turns against you. In the same way, the Autumn Barn composition feels like my leaves guests are trapped within a jar, bound by the choices I make while sailing.
The strings that hold them — delicate yet essential — represent the fragile balance between safety and the exhilaration of risk. It is a constant dance, where every decision could tip the scale between control and chaos.
|
Museum in progress, April 2018 (45 x 17 x 18 cm)
Outfitting a museum ensures that both the objects and the space work together to create an immersive, educational, and visually appealing experience for visitors.
However, before the grand opening, the process is far from uniform. Eclecticism reigns as items arrive from diverse sources, each carrying its own set of references and histories. In this chaotic stage, everything is mixed together, awaiting the careful adjustments of the curator.
It is through these adjustments that the curator refines the presentation, ensuring that the content aligns with the intended message and resonates with the audience, turning the collection into a cohesive and meaningful experience.
|
History’s Obsolescence, October 2018 (36 x 63 x 46 cm)
Obsolescence, a quiet thief, steals the strength of time’s belief.
A once-bright spark, now dimmed and cold, fades as new dawns dare unfold.
But nature’s reach, it waits, it yearns, to invade, to twist, to watch it burn.
Computers hum with fleeting grace, then melt, as roots invade their space.
What once was bright, now turns to a flammable, yet pitiful item.
Silicon dreams, now lost in the rush of fleeting times.
Obsolescence is not defeat, but nature’s way to replete in the ruins, growth may start, as new ideas, as seeds from moulds.
|
Chocolate’s breaker, January 2019 (3 x 27 x 6 cm)
Endowed with the raw, untamed beauty of nature and craftsmanship, it carries the essence of roughness – where imperfection becomes character.
In burned wood, this roughness is the grain’s defiant path, the knots that tell a story of time and resilience.
In Damascus steel, it is the layered dance of fire and forge, waves of metal folding upon themselves, each mark a testament to its strength.
Yet, from this rugged artistry emerges refinement—a smooth blade, meticulously crafted for the delicate precision of slicing Kirchen Torte from Switzerland. A harmony of contrasts, where rawness meets elegance, and strength serves grace. Together, they embody a tactile legacy—rugged, enduring, and rich with history.
|
Nostalgia, September 2023 (52 x 22 x 12 cm)
Between youth and adulthood lies a suspended, gifted period – an in between space, free from the weight of conventions, where time feels both fleeting and infinite. It is a realm of self-discovery, where dreams take shape.
For me, this composition is a tapestry of personal memories, each piece holding a fragment of my journey. Some are deeply intimate, whispered echoes of moments that shaped me. Others are musical, melodies intertwined with emotion, carrying the rhythm of my past. Yet all share a common thread—they face Assisi, the world of my childhood, the landscape of my earliest dreams and reflections.
|
Suspended Dry Time, October 2023 (39 x 39 x 6 cm)
A leaf that hangs in midair’s grace.
The air is thick with what once was a hush that neither comes nor goes.
Between the past time drifts endlessly.
|
Window on the world, October 2023 (30 x 20 x 6 cm)
An old window into an aged world, reflected in an aged mirror, facing echoes of timeless memories.
|
Non ingerire, December 2024 (78 x 19 x 15 cm)
The essence of human existence captured through a thought-provoking composition. It begins with the sacred tanga that unmistakeable emblem of desire and creation, delicately framing the presence of a pure white fecundable egg, the quiet yet potent symbol of life’s potential, suspended in anticipation.
Nestled delicately within its wake, a stone bird, a hardened, unhitched paradox of innocence, held within a golden woven disk — for what is life if not a gilded cage of fragile beginnings? But time, the relentless puppeteer, encircles all in its clock, a cruel reminder that forward is the only permissible direction of no rewind. Binding this theatrical spoof is the cultural ropework, the grand societal corset, ever-present, ever-restricting, threading through the sterile and uncompromising medical glass, because science, of course, must have its say in this absurd ballet.
And then, the explosion of feathered lights! A jubilant, chaotic burst, as if the soul, for one fleeting moment, breaks free from its earthly obligations, a chromatic defiance against structure and inevitability. But alas, the universe is not so kind. The crescendo wanes, the cycle nears its closing act. The once-vibrant hues settle into the pale, whispering testimony of white hairs, the final signature of existence, a delicate epilogue to the grand absurdity of life.
And thus, in the span of one sculpture, we have it all: the passion, the birth, the entrapment, the struggle, the fleeting rebellion, and the quiet, inescapable finale. A masterpiece of irony, indeed.
|
Alexandra’s Limelight, December 2024 (29 x 31 x 13 cm)
Joyful Suspended Momentum
|
Tantalized, January 2025 (25 x 37 x 37 cm)
Their breaths mingle, suspended in the hush of momentum.
The world dissolves, leaving only the warmth of closeness.
A delicate brush of hips—light, lingering—sends a shiver through the air.
It’s a silent dialogue, where words are unnecessary, only the language of longing exchanged.
Anticipation lingers, each heartbeat echoing the unspoken pull,
as time stretches, turning this fleeting instant infinite and sacred.
|
Love & war, February 2025 (54 x 44 x 30 cm)
Some time ago, I listened the radio by journalist Maurine Mercier on women in Ukraine, and Ekaterina in particular. Her words inspired me to create a sculptural composition entitled : Love & War.
I thought I was listening with no attention as in the background, but I was overwhelmed. Recently, I created a sculpture-assemblage « in automated mode », without realizing that the words I had heard were resurfacing with violence.
The work explores the broken silence mixed with the weight of trauma through fissures partially closed in on themselves. Asymmetrical forms within symmetry underline the incongruity of trauma.
The elements of femininity are violently swept away by iron and stone, which themselves are shattered like the emotional shock suffered.
This sculpture bears witness to the persistent trauma inflicted on women by war. A symbol of immaculate femininity, docked to this intimate toilet accessory is decomposed by the violence of the shock. Fragments of coquetry are also fractured. It’s a representation of mental cracking under the crushing domination of wrought iron.
My activity is to repair, here I violently smashed. By respect I am not signing this worldwide tribute.
|
Equal Justice Initiative, February 2025 (28 x 23 x 17 cm)
David Cottier-Angeli, a man whose journey parallels the founding of the Equal Justice Initiative (EJI), has a powerful message to share.
EJI, established in 1989, has been tirelessly working to end mass incarceration, challenge racial and economic injustice, and protect basic human rights for the most vulnerable in American society. Interestingly, it was around this same time that David Cottier-Angeli began his own journey in the realm of justice and personal growth.
Mr Cottier-Angeli’s expertise once helped save an individual from a 15-year imprisonment, resulting in all charges being dropped. This experience gave him unique insight into the critical work that organizations like EJI perform daily.
Through his own process of atonement, Mr. Cottier-Angeli created something meaningful – a testament to the power of personal transformation. Now, in a gesture of profound generosity, he wishes to gift this creation to EJI, supporting their ongoing mission.
This parallel journey – of an organization and an individual both striving for justice since the late 1980s – serves as a powerful reminder of the long-term commitment required to effect change in our justice system.
We invite you to reflect on this story and consider how you, too, might contribute to the cause of justice in your own way.
|
59, March 2025 (39 x 33 x 11 cm)
This sculptural windowpane is an ode to the sacred harmony between divine wisdom and reverence for nature. By invoking my uncle Cardinal in the Dominican Order, and the spiritual legacy of Saint Francis of Assisi (my childhood home town), the piece exudes profound contemplation and devotion. The Dominican intellect, rooted in theological clarity and the pursuit of truth, seamlessly converges with the Franciscan ethos of humility and love for creation.
A sense of grace and solemnity, a gaze lifted toward celestial mysteries by the myriad of stars in this ancient stabilized mercury mirror.
The 59 beads of the Dominican Rosary determine which prayers are recited and in which sacred order. This sacred rhythm of prayer, embodied by the rosary, resonates in the composition’s unflappable presence. Just as the beads guide the faithful through meditative devotion, so to aim this composition leads the viewer on an internal spiritual journey, inviting reflection and deep reverence.
Through this, the spiritual and the earthly meet in an eternal dialogue, reminding us that wisdom and love for nature are not opposing forces but complementary virtues. The organic flow of the piece itself mirrors the unity of contemplation and action, theology and ecology, the sacred and the wild.
This is not just a work of art – it is a call to reflection, a whisper of prayer turned to wood, a silent sermon of peace, wisdom, and divine love over human mankind. May it stand as a beacon of inspiration for all who encounter it.
|
MegaloBulimusMusculus, (13 x 10 x 8 cm) – For the curious adult persons, here is a link : Lust Love |
As you explore David’s artworks, you’ll notice how he skilfully transforms recycled elements and archaeological remains into captivating sculptures. Each piece is a journey of discovery, where unexpected forms emerge from the artist’s deep well of creativity.
David’s sculptures offer a unique sensory experience, inviting you to ponder the complex relationship between human-made artefacts and nature. You might observe how his works evolve over time, with dust adding a dramatic and romantic quality that enhances the contrast between manmade elements and organic change.
This innovative approach, combined with David’s expertise in conservation, results in sculptures that vibrate with the essence of the past while exploring the ephemeral nature of human creations. As you view his work, consider how each piece reflects the power of intuitive, subconscious-driven artistry.
Feel free to immerse yourself in this page on a wide screen. Your insights and reflections on this artistic journey are greatly appreciated.
I’ll be very happy to discuss directly with you, just drop me a line here ✉️
Le Môle de Wilma, February 2017 (17 x 27 x 17 cm)Nous avons gravis presque jusqu’à mi-hauteur du sommet du Môle, par un sentier abrupt.
C’est là que je récoltais cette pierre, lourde de symboles, dans l’espoir de lui rendre hommage, en ce jour de silence imminent, qui se rapprochait, implacable et trop rapide.
Smuggling & Justice, May 2017 (40 x 90 x 20 cm)In the world of archaeology, the delicate balance between discovery and preservation is often threatened by the shadowy realm of smuggling. Ancient artefacts, ripped from their historical contexts, become commodities, fuelling a trade that erases history for profit.
Yet, justice seeks to reclaim what is lost, to protect cultural heritage. In this tension, the composition is held in a used gun case—a symbol of the dark forces at play and the lengths to which some will go to conceal or transport stolen relics. The case, once used for violence, now cradles the very history it seeks to protect, underscoring the perilous intersection of justice and greed in the world of archaeology.
VERBOTTEN FERGOTTEN, June 2017 (27 x 60 x 43 cm)I could have given this structure countless names, but what held my thoughts captive were the growing burdens of legally handling this aged material—both forbidden and forgotten, slipping through the grasp of time and law alike.
A defunct note, whispering echoes of lost value, an obsolete dial suspended between remembrance and oblivion, a scattered pile of artefacts, their meaning faded, yet still bearing forever the quiet imprint of ancient mastery.
Old Science Music, July 2017 (30 x 90 x 30 cm)This is a personal confession – a reflection on all the wishes that eventually turned into failures. Each desire, once full of hope, crumbled under the weight of reality.
Over time, I found myself restoring failures, not just in my mind, but in tangible form.
In this case, the failures became something more than memories — they merged into an object, something I could hold and observe. What once seemed broken and lost has now been transformed into a physical presence, a reminder that even in failure, there’s a chance to rebuild, reshape, and find meaning in what was once discarded.
Autumn Barn, October 2017 (36 x 60 x 60 cm)A barn where, as Swiss military conscripts, we used to sleep above the cows in the hayloft.
Fragile leaves are my companions on a restful night, while ears stay alert, struggling to maintain a connection with the outside world.
Bottle Leaf, April 2918 (35 x 15 x 15 cm)A part of my life has been shaped by sailing on our lake, where 26 different winds constantly challenge the sail, making each journey unpredictable and intense.
Danger always lurks, particularly when the weather forecasts are proven wrong, and the wind turns against you. In the same way, the Autumn Barn composition feels like my leaves guests are trapped within a jar, bound by the choices I make while sailing.
The strings that hold them — delicate yet essential — represent the fragile balance between safety and the exhilaration of risk. It is a constant dance, where every decision could tip the scale between control and chaos.
Museum in progress, April 2018 (45 x 17 x 18 cm)Outfitting a museum ensures that both the objects and the space work together to create an immersive, educational, and visually appealing experience for visitors.
However, before the grand opening, the process is far from uniform. Eclecticism reigns as items arrive from diverse sources, each carrying its own set of references and histories. In this chaotic stage, everything is mixed together, awaiting the careful adjustments of the curator.
It is through these adjustments that the curator refines the presentation, ensuring that the content aligns with the intended message and resonates with the audience, turning the collection into a cohesive and meaningful experience.
History’s Obsolescence, October 2018 (36 x 63 x 46 cm)Obsolescence, a quiet thief, steals the strength of time’s belief. A once-bright spark, now dimmed and cold, fades as new dawns dare unfold.
But nature’s reach, it waits, it yearns, to invade, to twist, to watch it burn. Computers hum with fleeting grace, then melt, as roots invade their space.
What once was bright, now turns to a flammable, yet pitiful item. Silicon dreams, now lost in the rush of fleeting times.
Obsolescence is not defeat, but nature’s way to replete in the ruins, growth may start, as new ideas, as seeds from moulds.
Chocolate’s breaker, January 2019 (3 x 27 x 6 cm)Endowed with the raw, untamed beauty of nature and craftsmanship, it carries the essence of roughness – where imperfection becomes character.
In burned wood, this roughness is the grain’s defiant path, the knots that tell a story of time and resilience.
In Damascus steel, it is the layered dance of fire and forge, waves of metal folding upon themselves, each mark a testament to its strength.
Yet, from this rugged artistry emerges refinement—a smooth blade, meticulously crafted for the delicate precision of slicing Kirchen Torte from Switzerland. A harmony of contrasts, where rawness meets elegance, and strength serves grace. Together, they embody a tactile legacy—rugged, enduring, and rich with history.
Nostalgia, September 2023 (52 x 22 x 12 cm)Between youth and adulthood lies a suspended, gifted period – an in between space, free from the weight of conventions, where time feels both fleeting and infinite. It is a realm of self-discovery, where dreams take shape.
For me, this composition is a tapestry of personal memories, each piece holding a fragment of my journey. Some are deeply intimate, whispered echoes of moments that shaped me. Others are musical, melodies intertwined with emotion, carrying the rhythm of my past. Yet all share a common thread—they face Assisi, the world of my childhood, the landscape of my earliest dreams and reflections.
Suspended Dry Time, October 2023 (39 x 39 x 6 cm)A leaf that hangs in midair’s grace.
The air is thick with what once was a hush that neither comes nor goes.
Between the past time drifts endlessly.
Window on the world, October 2023 (30 x 20 x 6 cm)An old window into an aged world, reflected in an aged mirror, facing echoes of timeless memories.
Non ingerire, December 2024 (78 x 19 x 15 cm)The essence of human existence captured through a thought-provoking composition. It begins with the sacred tanga that unmistakeable emblem of desire and creation, delicately framing the presence of a pure white fecundable egg, the quiet yet potent symbol of life’s potential, suspended in anticipation.
Nestled delicately within its wake, a stone bird, a hardened, unhitched paradox of innocence, held within a golden woven disk — for what is life if not a gilded cage of fragile beginnings? But time, the relentless puppeteer, encircles all in its clock, a cruel reminder that forward is the only permissible direction of no rewind. Binding this theatrical spoof is the cultural ropework, the grand societal corset, ever-present, ever-restricting, threading through the sterile and uncompromising medical glass, because science, of course, must have its say in this absurd ballet.
And then, the explosion of feathered lights! A jubilant, chaotic burst, as if the soul, for one fleeting moment, breaks free from its earthly obligations, a chromatic defiance against structure and inevitability. But alas, the universe is not so kind. The crescendo wanes, the cycle nears its closing act. The once-vibrant hues settle into the pale, whispering testimony of white hairs, the final signature of existence, a delicate epilogue to the grand absurdity of life.
And thus, in the span of one sculpture, we have it all: the passion, the birth, the entrapment, the struggle, the fleeting rebellion, and the quiet, inescapable finale. A masterpiece of irony, indeed.
Alexandra’s Limelight, December 2024 (29 x 31 x 13 cm)Joyful Suspended Momentum
Tantalized, January 2025 (25 x 37 x 37 cm)Their breaths mingle, suspended in the hush of momentum.
The world dissolves, leaving only the warmth of closeness.
A delicate brush of hips—light, lingering—sends a shiver through the air.
It’s a silent dialogue, where words are unnecessary, only the language of longing exchanged.
Anticipation lingers, each heartbeat echoing the unspoken pull, as time stretches, turning this fleeting instant infinite and sacred.
Love & war, February 2025 (54 x 44 x 30 cm)Some time ago, I listened the radio by journalist Maurine Mercier on women in Ukraine, and Ekaterina in particular. Her words inspired me to create a sculptural composition entitled : Love & War.
I thought I was listening with no attention as in the background, but I was overwhelmed. Recently, I created a sculpture-assemblage « in automated mode », without realizing that the words I had heard were resurfacing with violence.
The work explores the broken silence mixed with the weight of trauma through fissures partially closed in on themselves. Asymmetrical forms within symmetry underline the incongruity of trauma.
The elements of femininity are violently swept away by iron and stone, which themselves are shattered like the emotional shock suffered.
This sculpture bears witness to the persistent trauma inflicted on women by war. A symbol of immaculate femininity, docked to this intimate toilet accessory is decomposed by the violence of the shock. Fragments of coquetry are also fractured. It’s a representation of mental cracking under the crushing domination of wrought iron.
My activity is to repair, here I violently smashed. By respect I am not signing this worldwide tribute.
Equal Justice Initiative, February 2025 (28 x 23 x 17 cm)David Cottier-Angeli, a man whose journey parallels the founding of the Equal Justice Initiative (EJI), has a powerful message to share.
EJI, established in 1989, has been tirelessly working to end mass incarceration, challenge racial and economic injustice, and protect basic human rights for the most vulnerable in American society. Interestingly, it was around this same time that David Cottier-Angeli began his own journey in the realm of justice and personal growth.
Mr Cottier-Angeli’s expertise once helped save an individual from a 15-year imprisonment, resulting in all charges being dropped. This experience gave him unique insight into the critical work that organizations like EJI perform daily.
Through his own process of atonement, Mr. Cottier-Angeli created something meaningful – a testament to the power of personal transformation. Now, in a gesture of profound generosity, he wishes to gift this creation to EJI, supporting their ongoing mission.
This parallel journey – of an organization and an individual both striving for justice since the late 1980s – serves as a powerful reminder of the long-term commitment required to effect change in our justice system.
We invite you to reflect on this story and consider how you, too, might contribute to the cause of justice in your own way.
59, March 2025 (39 x 33 x 11 cm)This sculptural windowpane is an ode to the sacred harmony between divine wisdom and reverence for nature. By invoking my uncle Cardinal in the Dominican Order, and the spiritual legacy of Saint Francis of Assisi (my childhood home town), the piece exudes profound contemplation and devotion. The Dominican intellect, rooted in theological clarity and the pursuit of truth, seamlessly converges with the Franciscan ethos of humility and love for creation.
A sense of grace and solemnity, a gaze lifted toward celestial mysteries by the myriad of stars in this ancient stabilized mercury mirror.
The 59 beads of the Dominican Rosary determine which prayers are recited and in which sacred order. This sacred rhythm of prayer, embodied by the rosary, resonates in the composition’s unflappable presence. Just as the beads guide the faithful through meditative devotion, so to aim this composition leads the viewer on an internal spiritual journey, inviting reflection and deep reverence.
Through this, the spiritual and the earthly meet in an eternal dialogue, reminding us that wisdom and love for nature are not opposing forces but complementary virtues. The organic flow of the piece itself mirrors the unity of contemplation and action, theology and ecology, the sacred and the wild.
This is not just a work of art – it is a call to reflection, a whisper of prayer turned to wood, a silent sermon of peace, wisdom, and divine love over human mankind. May it stand as a beacon of inspiration for all who encounter it.
MegaloBulimusMusculus, (13 x 10 x 8 cm) – For the curious adult persons, here is a link : Lust Love