In the « Spanish Finistere » there is a site where petrified wood seems to be growing out of the ground . Marie-Noëlle de la Poype visited this région, and very quickly realised,by the form and the texture of the éléments , that this was neither wood nor stone, but the bones of large cetaceans thrown up by the sea over the past centuries. She decided to save these materials as a mark of respect for nature and living species. In the sculpture,the choice of material is always eloquent.If the idea takes précédence over the material , the sculptor will chose whatever is most appropriate . Since the quattrocento , the role of the artist is to impose his knowledge throught his mastery of material .This was , moreover , the main criterion by wich art lovers used to judge the manner or , as we might say more commonly today , the style of the artist. In the XXth century , artists have emerged from their studios and the « Fine Arts system », and taken an interest not only in the world they create , but also in the already created world surrounding them . This has profoundly altered the act of sculpting, and the unaltered form of certain « objets trouvés « has made a great impact on artists.

Like stone sculptors , who on discouvering a fossil in its block of stone , see that this inert matter contains a proof of life , Marie-Noêlle de la Poype very quickly became aware of significiance contained in the smallest part of the skeleton of a large cetacean. The coming together of individual mythologies with a potential for triggering awareness that such a meeting provokes will always generate a whole host of thoughts as deep as the majestic ocanic abysses. Marie-Noêlle de la Poype is conscious of the perception we have of these animals and the elements struck her both through their materiality and their form . Her artistic action is thus concentrated on reification trough an assembly of certain parts of a whole ,in order to bring to life a new organic object with meaning. Her sensitivity leads her to adopt various approaches . When the specificity of the material is dominant , her approach is to apply a transparant colouring . Form and size are also often perceived as potential messages . And interprétations in plaster, aluminium or bronze of certain forms and structures also serve the discourse of MNdlP in her overall project of senerity. She sometimes makes modifications by eliminating material when an object is too time-worm ,so that it no longer evokes the animal of which it used to form part , and its new intrinsic existence is then given through a revelation of the form it already bore, but too secretly.

Other discoverles on the shores of Patagonia underpin her approach . The assemblies of bones are not lying on a plinth or metallic stand , but on a stone.The mineral element put in relation with the most lasting remains of the largest animal from the blue planet puts us in the presence of a solid and visual secular memory . Earth and sea are présent before us.

The lava stone comes from the centre of the earth , certain minerals reveal their geographical origin , others have energetic properties , and meteorites , for their part, are testimonles of the universe . All these stones picked up here and there , in the course of her travels , are put in relation with one another through assemblies with the bones of the largest ,the most majestic , but also the most enigmatic animals known anywhere in the universe . These mineral and organic works will transport you into the secrets of the universe that cath woman carries in the deepest part of herself : genesis.

Etienne Tilman 1999

An assembly of certain parts of a whole ,in order to bring to life a new organic object with meaning.