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Orophany and the creativ act


DORO defines “orophany” – a term he coined – as revealing shapes and colours which lay hidden in the metals involved.

Orophany is not the creation of shapes or the programming of colours; these appear randomly under the artist’s prompting.

Those are the characteristics which allow DORO to say, “I discovered a technique that allows me, using molten metal, to generate a form free of any intellectual contamination, that is to say, without any conscious direction on my part regarding shape or aspect.


More specifically, how does DORO work?

DORO works from the original state of metals, i.e. their liquid state.

Once gold or silver is melted, DORO – using pliers – draws from this liquid mass small bands of varying sizes which, as they cool down, turn into strips with an aspect not unlike that of wrinkled aluminum.

These bands or strips are clearly well visible in the sculpture “Child’s Head” left for example.

A closer look reveals that the metal is not really wrinkled; actually, it consists of solidified waves, not unlike certain lava flows. These waves are the result of the traction and tension to which DORO, using his pliers, submits the external layer of the molten metal. In French, this “freezing of waves” is called “solondification” (from the French for “solidification of waves”).

DORO then uses these wave-shaped strips to create his sculptures.

Depending on the number of strips, their sizes, their shapes… he will then create a sculpture by assembling and melting them. The strips are not soldered to each other: there is no complementary contribution of metal. They are joined.

This operation is an artistic exercise in precision work. By bring a blowtorch (at 961°C/1,762°F for silver and 1,064°C/1947°F for gold) to bear on the assembly points, previously assembled strips must not be damaged, despite their sometimes extreme proximity.

The work of art is then subjected to an oxidization-stabilising treatment.


Based on a high technical expertise, carried out under adapted conditions, a first creative act occurs when the artist allows the metal to reveal what lay hidden within it until then: new shapes, new aspects, unusual colours and intensities.

A second creative act, also requiring extensive technical expertise, allows the work of art to be created through the creative assembly of the elements previously obtained.



Remy in his artist studio-2

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