CC: It’s a very personal collection, consisting mainly of post-war works, Pop Art pieces and personal favourites. There’s a lot of humour and mockery throughout. The works are characterised by a vital impulse and ability to catch the viewer’s eye and hold their gaze. The overriding message is: “Open your eyes to look inside and better connect with what’s around you.”
CC: This is the score of the crossing, the ‘relief path’ of the visitor-traveller. The mental journey begins as soon as you takes to the water. When you arrive on the island, there’s an impression of extraordinary release, a dilation of time and space. You deviate a little from the usual environment to experience the inner island, coupled with the mysterious transformative power that contact with a work of art can have. Alone in front of a work at nightfall, things can happen…
CC: The museum is hidden below the house. It’s deceptive but in fact boasts 1,500 m² of space across several levels, without ever feeling like it’s underground thanks to a clever play on light and volume. There are also two sculpture parks: to the north, a labyrinth of cabins with mysterious, introspective works; to the south, faces and busts bordering the visitor pathway, which invite you to question yourself.
CC: Curious, and free from time constraints. Ready to indulge, to meditate in the garden, to converse with companion(s) and fellow visitors. The different spaces can contribute to this letting go.
CC: We ask visitors to remove their shoes before giving them a welcome drink made from medicinal plants grown on site. This ritual sets the scene for something ‘happening’. This is the concept of the oceanic feeling: a moment of grace, an mystical experience, where the ego melts into something immense.