Takis «Spheres» 2000.
Takis has always been attracted to the sphere, as an archetypal form. The Spheres of Takis are multi-referential; as seeds, as planets, and as magnified biological organisms. In their capacity as sculptures, these Spheres seem to encapsulate either the origin or the destination of nature. Displayed in the open as a group, they appear to relate to one another, and to be at one with nature. Still as they are, they seem to incubate cosmic energies that are to be released at any moment. Takis saw his bronze spheres of the 1950s as «a manifestation of a centrifugal force through swelling, akin to a pregnant woman's belly.»
A cartography of the universe in gestures and signs: this would be one of the possible roots of an aesthetic of immanence, where the virtual is not form but force, even spiritual force. A heterogenous and plural energy that invents this impulse to suspension is found equally in Takis or Yves Klein in their common «here is space.» Thus, Takis’ fascination with the earth’s elementary forces and forces of attraction paradoxically leads to work with suspended planetary sculptures and other idols of the air defying gravity.