I told myself therefore that the unknown of art certainly needed to pass by a confrontation to these subjects. It was a little very private manifesto, composed of denials, stating the conditions, which we impose ourselves in order to arrive to make something that would be new enough and would become a creation one day.
Thus, I made mountains of little cardboard boxes that I varnished with wallpaper glue and then mounted on whatever was at hand, or trashbags that I filled with plaster and that I worked on with a wood die. Since , I love working with polystyrene that makes me think of sustainable materials such as bronze because you cannot get rid of it. I stop before the arrival of the formless and sometimes a work is finished before having even been started.
A sculpture must stay a form and not to go into a formless state. Her works are in important public collections. Avoiding virtuosity, ease or even commentary, this is the very unlikely programme that Anita Molinero's work has set itself from the beginning.
A project that she has been stubbornly carrying for thirty years to build a body of work that has no equal on the French artistic scene.
I said to myself that the unknown in art should probably confront itself with them. It's a small private manifest, made of negations, based on conditions that one gives oneself to be able to do something that is new enough and can one day become a creation.
