Anachar Basbous - BOC Chronicles
Modernity meets tradition and contemporary greets innovation with open arms when it comes to the unique sculptures of Anachar Basbous.
With a vision to create mentally stimulating pieces and solidify Lebanon as a hub for art, he hails from Rachana, where he took on the mission to beautify it. This eventually led to the grander idea of extending that beauty all across the country through not only his own works, but also those of master artists from both the past and the present.
There is so much beauty in the way of perceiving a sculpture in a given environment, when the angles and points of views are mastered. Do you believe strongly in site-specific sculptures or you trust that every sculpture can live anywhere?
The relationship between sculpture and place (I mean: light, materials, forms... all these components of places) is at the same time subtle and strong. A sculpture is made of forms, volumes, textures and voids. It is quite natural that it is in dialogue with the space that surrounds it.
Do you consider shadows as a big part of your creative process when thinking of your sculpture’s overall shape?
Every sculpture has a vital need for light. And when we say light, we say shadow. The forms of a sculpture cannot exist without shadow and light.
What is your opinion on 3D printing?
I belong to a generation that has seen the dazzling progress of technology and a lot of new inventions like 3D printing. And since I am convinced that an artist should be the child of his time, it is only natural for me to be interested in any technique that can open new horizons and enrich my artistic language.
What’s your preference: custom-made pieces or personal ones, and why?
No doubt that my personal work in sculpture allows me to push my imagination and creativity further. On the other hand, there is in any commissioned work the challenge of creating a sculpture for a specific place and client. These constraints have always pushed me to go further.
What is the main difference you would say sets you apart from your dad in the way you sculpt, whether it is in the process or in the final result?
The process is almost the same. My father always had two ways of sculpting.
The first is direct carving; it is the act of attacking the material of a sculpture without a model or preliminary drawing. The second is to draw and prepare a model that will later be used to enlarge the sculpture proportionally in the desired dimensions. The difference between my father's and mine is my tendency to build my sculpture rather than sculpt it.
My sculptures are often made of added pieces, fixed one on top of the other like a construction or an architecture.
And of course, the final result will also be different.
Can you tell us a bit more about the ‘’living sculpture’’ that your dad built?
The idea of building a living sculpture came to him after journeys he had made in the deserts of Iraq and Syria where he discovered mud houses with organic forms. His house-sculpture was built with concrete and several recycled materials such as the tank of an airplane, the headlights and the windshields of cars. In 1976, my father wanted to use a material of his time which is concrete and had already sensed the importance of recycling.
The initial shapes of the house are organic, all curved, without right angles or straight lines. This is because he believed that the more the architecture resembles the human body, the more comfortable it will be inside.
How much time does one piece take you to shape? Is the final result decided at the start of your work or do you define it more as a hands-on, on-going process that is “undecided” until your final touches?
It all depends on the size and complexity of the piece. It can vary from one day to 6 months.
Most of the time I know roughly what my sculpture will look like, because I prepare it with drawings and models.
a) What role does science and astronomy play in the creative process of conceiving your pieces?
Many of my creations revolve around the sphere, the circle or the cycle. They release forces of attraction between the shapes that make up the sculpture. This universe recalls the forces of the cosmos, the stars and the planets. It also reminds us of the world of the infinitely small and the relationship between cells and atoms.
b) As innovators, what was the vision you and your brothers first had when starting your journey in beautifying your hometown of Rachana?
It was Michel, the eldest of the three Basbous brothers, who had the vision to transform his native village, Rachana, into a village of sculpture and a meeting point for Lebanese and international artists. At the end of the 50's, this great project began. An international theater festival was created in Rachana from 1960 to 1964. The three brothers, Michel, Alfred and Youssef were at the center of this cultural movement that went beyond sculpture to touch all forms of art such as theater, poetry, music, dance etc...
You sometimes work on sculptures with architects. From your perspective, how do art and architecture cross paths and what is the input that they provide?
The closest art form to sculpture is architecture. These two forms express themselves through matter, volume and space. Nowadays, many architectural stars like Frank Gehry, Zaha Hadid and others create artworks closer to sculpture than to architecture. So it is very normal that an architect collaborates with a sculptor and vice versa.
How do you get inspiration for your next sculpture and upon which criteria do you decide which material you will be using?
My inspiration is based on one hand on a long accumulation of research and experimentation, and on the other hand on life with all its magic. The material is often chosen according to the form and aesthetics of the sculpture.
Who are 3 of your favorite artists in all forms of arts, respectively?
As sculptor: Richard Serra.
As a painter: Hundertwasser.
As architect: Jean Nouvel.
What art form other than sculpting has played a role in your creativity?
Drawing and painting.
Your vision of Richard Serra’s work in three words.
Powerful. Monumental. Primitive.
One of your wishes was to see the light of a contemporary national museum in Lebanon where the master artists of the country – especially the ones who passed away – would have their art showcased in. Today, what are your thoughts on this?
Can we say that Lebanon has its place among other countries in the Arab world regarding the modern and contemporary art?
Yes surely. Lebanon has excellent artists and a very knowledgeable public. These two factors are the hope of art and culture in Lebanon.
