Denis Savary’s work conveys strength and joy in a totally unthreatening proximity. With their anthropomorphic poses, one standing on its hind legs, the other balancing, both performers of that imaginary choreography wave to visitors with their cheerful movements full of jubilation. Savary kept the pale colors from the ice floe, so light could infuse them all the better.
Among the many references behind the Lokis series, let us recall the most famous one: the representation of the dancing bear in Inuit sculpture. Often on one foot, its body tilted in a spirited, only fleetingly stable position, this animal’s instinctive dance glorifies the joy of life in Inuit culture. As for the title, Lokis, this is a reference to Prosper Merimée’s 1869 fantasy novella about the life of a man born of a woman and a bear.
Materialized in fiberglass that looks like skin, clothing or even a mask, Savary’s bears, designed at a human scale, reflect transparency and lightness. The Lokis series recalls the central place that animal figures occupy in Denis Savary’s work, as well as the use of erudite references as a ubiquitous foundation of his approach. Derived from popular or high culture, his always highly inventive language proliferates associations that establish a dialogue between the ancient and the contemporary.