{"id":1672,"date":"2026-02-10T23:10:58","date_gmt":"2026-02-10T22:10:58","guid":{"rendered":"https:\/\/atelier-duranton.com\/living-art-as-a-manifesto\/"},"modified":"2026-02-11T00:01:25","modified_gmt":"2026-02-10T23:01:25","slug":"living-art-as-a-manifesto","status":"publish","type":"post","link":"https:\/\/atelier-duranton.com\/en\/living-art-as-a-manifesto\/","title":{"rendered":"Living Art as a Manifesto"},"content":{"rendered":"\n

For this new Journal article, Le Petit Billet<\/strong> met with Atelier Duranton<\/strong>.At the crossroads of biology<\/strong>, art<\/strong>, and artistic craftsmanship<\/strong>, Paul Louis Duranton<\/strong> designs bespoke living artworks<\/strong>, conceived as sensitive<\/strong> and sustainable<\/strong> experiences.<\/p>\n\n

How would you describe your expertise in a few words?<\/h2>\n\n

My ambition is to recreate a fertile ground for the expression of nature<\/strong>, of life, reproduction, and movement, because living things carry an essential beauty within them, sometimes fleeting and discreet, sometimes sovereign, even devastating.<\/p>\n\n

This fascination with wild nature<\/strong> is inseparable from its freedom, and may seem contradictory to the approach of recreating it in an artificial, necessarily finite space. This tension is, for me, a driving force<\/strong> and a challenge<\/strong>. <\/p>\n\n

My expertise perhaps lies in the ability to make a graphic aesthetic<\/strong> dialogue with a sustainable ecological assembly<\/strong>, and to give birth to sometimes improbable objects in which life can truly take root.<\/p>\n\n

What emotions do you wish to evoke through your works?<\/h2>\n\n

The sight of a goldfish swimming in circles in its bowl, a bird confined in too small a cage, or a mass-produced bonsai suffering in its pot, has become commonplace. Yet, for me, it remains profoundly sad. <\/p>\n\n

Conversely, seeing a plant bloom after months of waiting, witnessing the formation of a pair of angelfish and then their spawning, or observing the slow appearance of a luminous, emerald green moss carpet, are rare and precious emotions. They arise from time<\/strong>, attention<\/strong>, and patience<\/strong>. <\/p>\n\n

Of course, everyone has their own perspective, their own sensibility. Some will be touched by the luminous ripples drawn by waves on the water’s surface, others by the birth of a new maidenhair fern leaf, by the softness of a slowly eroded rock, by the strangeness of a change in scale. There are also the thousand shades of blue-green water, the graphic quality of plants caught in backlight, the almost imperceptible music of a trickle. <\/p>\n\n

These are the moments, often discreet, that I seek to make possible: experiences of the living<\/strong> that are not about possession, but about encounter<\/strong>.<\/p>\n\n

\"\"<\/figure>\n\n

You have a background as a marine biologist. Why did you gradually move towards artistic creation? <\/h2>\n\n

Marine biology fascinated me because it addresses the mysteries of Life<\/strong> and water, reproduction, symbiotic combinations, and unveils extraordinary microscopic worlds.Algology, biotechnologies, aquaculture, the study of morphogenesis in geology, chemistry, and the physical processes of water are fascinating disciplines, but in my curriculum, their ultimate goal was exploitation<\/strong> and productivity<\/strong>.<\/p>\n\n

My specialization in aquariology already contained a so-called decorative dimension, but it was treated with stereotypes and without ambition.<\/p>\n\n

What does this scientific approach still bring to your creative process today?<\/h2>\n\n

The durability of an autonomous living system<\/strong> relies primarily on its ability to recycle its own organic matter. Everything happens in circulation, transformation, the invisible. To foster life is first to understand its cycles<\/strong>. <\/p>\n\n

My work is thus based on the nitrogen cycle<\/strong>. The creation of highly oxygenated zones stimulates aerobic bacteria that transform ammonia and nitrites, while anaerobic zones allow for the reduction of nitrates into gaseous nitrogen, ensuring their partial elimination. Without this balance, the accumulation of nitrates and phosphates inevitably leads to the eutrophication of the environment, with its procession of opportunistic algae and cyanobacteria that eventually suffocate the ecosystem. <\/p>\n\n

Plants then play an essential role. Aquatic plants, and even more so emergent terrestrial plants, absorb these excess nutrients, stabilize the system, and extend its autonomy, exactly as in natural environments. <\/p>\n\n

The scientific approach thus allows me to read the chemical balances of water and the ecological relationships between flora and fauna. It gives me the tools to intervene with precision, to guide without constraining, and to put my knowledge at the service of what I consider a living sanctuary<\/strong>. <\/p>\n\n

What types of projects are you involved in today?<\/h2>\n\n

I primarily work in interior spaces<\/strong>. I deliberately seek contrast, even contradiction, there. The classic concept of the green wall, as it has become widely established, does not really suit me. It too faithfully follows straight lines and flat surfaces, to the point of becoming a mere decorative extension of the architecture. In my opinion, it is a reminiscence of French gardens transposed indoors, controlled, flattened, frozen. <\/p>\n\n

I prefer to make a monolithic rock<\/strong>, almost majestic, emerge from a wall. To work it with curves, soothing contour lines, designed to promote the habitability of living things. Rather than immediately covering an entire surface, I allow space for time<\/strong>, for gradual plant colonization, for the slow establishment of balances, for the emergence of the landscape. <\/p>\n\n

\"\"<\/figure>\n\n

Are these always bespoke projects? And what does “bespoke” mean in your practice? <\/h2>\n\n

The change of scale introduces a form of strangeness, an almost surreal dimension in the literal sense of the term. The exact reproduction of reality ultimately becomes unreal. It is in this shift that my interest lies. <\/p>\n\n

Bespoke work first involves adapting a concept according to the dimensions, constraints, and identity of a given place. Each space imposes its own rules, its tensions, its possibilities. The work integrates, adapts, and sometimes transforms within it. <\/p>\n\n

That being said, it also happens that an existing ecosculpture finds a new anchor, particularly as part of a second life. In this case, the work does not disappear; it recomposes itself. The context changes, the perspective too, and the work continues to evolve. <\/p>\n\n

You structure your work around several universes: Living, Mineral, Monumental, Nomadic. Can you explain what characterizes them? <\/h2>\n\n

An ecosculpture is always a composition of forces<\/strong>. It brings together landscape and design, intimate detail and spectacular scale, the organic and the constructed. These tensions are articulated around four universes that structure my work. <\/p>\n\n

The Living<\/strong> is the heart of each project. Flora, fauna, microorganisms, biological cycles, and long-term time. Nothing is fixed; everything evolves. <\/p>\n\n

The Mineral<\/strong> forms the framework. Rock, relief, contour lines, and materials create a stable, almost geological base that accommodates and constrains living things without ever stifling them. <\/p>\n\n

The Monumental<\/strong> appears in relation to scale. Whether imposing or contained, each work seeks to produce a presence, a sensation of condensed landscape, capable of shifting perception and the body. <\/p>\n\n

Finally, the Nomadic<\/strong> questions the status of the object. Some pieces are autonomous, mobile, suspended, capable of experiencing multiple locations and multiple lives. Others are permanently anchored in architecture, becoming inseparable from it. <\/p>\n\n

Depending on the location, the client’s desire, and their concerns, I then envision a project with its own parameters. The balance of these universes, from the infinitesimal to the omnipresent, defines each work and gives it its unique identity. <\/p>\n\n

\"\"<\/figure>\n\n

Your works integrate living elements. How do you manage ecological coherence in your choices, whether it concerns materials, species, or energy used? <\/h2>\n\n

The creation of an ecosculpture is above all a technological challenge<\/strong>. It requires absolute and durable waterproofing of the aquatic container, while maintaining relative lightness to preserve complete freedom of form. <\/p>\n\n

These constraints can only be met by using polystyrene<\/strong> as a sculpting medium, combined with a thin layer of mortar made of earth, sand, mica, and food-grade resin. The polystyrene used is upcycled<\/strong>. The carbon it contains is thus sequestered long-term in the sculpture rather than released by incineration. No rock is taken from nature. Only in-situ molds are made to collect original mineral or bark textures. <\/p>\n\n

Living things, however, cannot be considered a material. A fish, a frog, a shrimp, or a shell is a being in its own right, never an interchangeable animal-object serving a decorative fascination. Hosting live animals implies a strong responsibility, which requires knowledge, observation, and research, so that the biotope precisely matches their needs. <\/p>\n\n

Finally, the question of energy is approached with the same rigor. Equipment sizing prioritizes efficiency and the lowest consumption. Natural light is sought first, with LED lighting only supplementing when context requires. The selection of flora and fauna favors species adapted to the temperature of the installation site to avoid the need for integrated heating. <\/p>\n\n

You advocate a low-tech approach where possible. What does this concretely mean in your daily workshop life? <\/h2>\n\n

Understanding certain chemical, physical, and biological processes, and simply experience, often allows for the choice of simple technical solutions if the ecosystem is supported by a high capacity for plant bio-purification.<\/p>\n\n

Why create complex automatic water-leveling systems for a basin if the contemplative guardian accepts a manual refilling ritual and minimal supervision, and if this contributes to a form of well-being?<\/p>\n\n

Conversely, a less intimate, more public place, or one requiring maximum autonomy, may necessitate technical complexity, for the purpose of monitoring vital parameters such as the presence or absence of water, humidity, temperature, or even the use of a micro-camera for the protection of living things.<\/p>\n\n

Are there things you refuse to do, certain ecosystems, certain species, or certain location conditions?<\/h2>\n\n

When a saltwater aquarium project is considered without the necessary experience, I systematically guide project owners towards a freshwater solution, which can be just as spectacular and sensitive. Marine ecosystems require very specific expertise. They tolerate neither approximation nor learning by error. <\/p>\n\n

I also exclude certain species, such as discus fish, often from intensive breeding and weakened in the medium term. Similarly, I avoid acquiring wild species, which fuels captures in the natural environment and their direct impacts on biotopes. <\/p>\n\n

These refusals are not creative limits, but ethical choices<\/strong>. They allow for the preservation of living things and guarantee the coherence and sustainability of the ecosystems I design. <\/p>\n\n

\"\"<\/figure>\n\n

What project are you most proud of today, and why?<\/h2>\n\n

My first commission, in 1997, for the town hall of Saint-Mand\u00e9, during the inauguration of the Paul-Bert school cafeteria. This ecosculpture rests on a powerful bio-purifying reef, composed of maidenhair ferns, Adiantum capillus-veneris<\/em>. Nearly thirty years later, it has never been more beautiful. Life has fully taken its place, and time has become a material in its own right<\/strong>. <\/p>\n\n

What was the most unexpected request you have received?<\/h2>\n\n

An ecosculpture designed as a true journey experience, installed in the stairwell of a Haussmannian mansion. An oval-section aquatic column rises from the basement over three and a half meters. At its heart, an island-shaped rock sculpture emerges with extreme delicacy, reaching the level of the first floor. <\/p>\n\n

Upon entering, the visitor is faced with a choice. To look down and experience the vertigo of a visual plunge into aquatic abysses, or to climb a few steps to access a living room where an open aquarium reveals a landscape of great serenity. The work then becomes a passage<\/strong>, an ascension<\/strong>, a vertical narrative that engages the body as much as the gaze. <\/p>\n\n

And conversely, what project do you dream of realizing one day?<\/h2>\n\n

A very large-scale ecosculpture, conceived as a manifesto. A work capable of imposing the strength of its overall design, pure and deeply organic forms, while offering another, slower and more intimate reading, based on detail and change of scale. <\/p>\n\n

I imagine this project at the heart of dense urbanism, where concrete dominates and nature is most often reduced to a sign. An assumed, almost political contrast. A living island, a sanctuary, implanted in a truly inhabited and traversed public space, so that the experience of living things can touch the greatest number. A work that would be neither decor nor symbol, but a real presence<\/strong>, reminding us that biodiversity is not a luxury, but a condition. <\/p>\n","protected":false},"excerpt":{"rendered":"

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