Pigeon has a questioning approach to sculpture - sometimes it's even more of a challenge, tinged with humour and a sense of fun about the "layout" - but always embodying the feminine form with a touch laden with truth. Vasarely once said : "No matter how good a sculptor is, they will never be able to do something fresh with the nude". I'm not so sure.
Of course, people will have seen the sculpture of Pomona, goddess of fruits and gardens - in Florence, Marly, or Versailles. Nonetheless, Pigeon puts a new, enthralling slant on the wife of the god of Spring - suffused with emotion. He pours the whole of bodily reality into his vision of fertile, kneeling, and curled-up women. His Woman at the mirror is voluptuous ; the "Girl de bois*" is open to our astounded gaze. Has anyone apart from Pigeon ever sculpted the fantasies of the woodsman by laying a woman on the most natural of blocks ? The interplay of masses expresses Pigeon's visual and tactile appetite: an artist bringing a fresh approach to the female skin whether in bronze, clay, marble or wood. Henry Moore's phrase could just as well define Pigeon's work : "I am affected by sculptures that are full-fleshed, with blood coursing through their veins, solid, strong and vital".
Here, divine fruit lies beneath Pomona's gaze, fashioned by a major contemporary artist.
Guy VIGNOHT, critic and art historian

* A play on the French for "hanghover"

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