IT IS THE TIME OF FIFTIES.
It is the time of his fifties and one has to celebrate it: back to the task for another decade. With what will go along with this additional decade: it's like every time...
He engages in a new love affair, anyway.
Faithful to his infidelity.
That will last again ten years with no surprise...
During these ten educational years, he used techniques he made his own in a connoisseur's appetite: he selects, sorts out and takes final options regarding the choice of the objects he uses to make his trademark. It will be the objects that are the best tamed and shaped by human hand.
From his surfing on the teaching wave, he clearly keeps a selective choice of what he wants to accumulate, cut, break, burn or include in the resin or concrete.
The 1980’s will see him develop and explore one of his techniques: THE CUT.
That is always his way of proceeding: explore, revisit, decline to the dregs each of his initial gestures from the beginning.
The cut of the object, Arman gives it two virtues: one is the possibility to go with the look to inside of things. The other is the diamond sharp slice represented by the edge portion of the cut. He looks for it and wants it to shine, present to sparkle the lights and shiver his line. As an echo of his work to use the object at the beginning? The imprint to make a slice of the "Allure d'objet" that was itself unwinding the movement of the object?
To reveal simultaneously the motion with the imprint of the crossing of the motion, to divert the frozen frame to the benefit of the hologram certifying that nothing is fixed, it all breathes like the first breath, a sort of ode to life ?
No, he does not select his objects by chance: he only wants those that are the most recognizable as possible and as many as possible.
"- A violin remains a violin and everyone recognizes a violin."
The treatment he inflicts to the object will set a narrative to draw its fate.
As Arman tells stories with the object.
Always. This decade 1980, when he decids to treat the issue of statuary, to do a spell to ancient objects charged with history to go back in time and to see the interior of things, he does not talk at all in the void.
Because the careful and competent interlocutor this time is:
AN ART HISTORIAN.
Specialist of Quattrocento, No less.
So he can deploy himself, Arman, thirsty for culture as he is: from mythology that he transforms with the humorous form of his multiple drawer-shaped titles to color the story, to give sense. He is understood, totally fulfilled. And ready to live a first time once again, as always ...
In 1992 he decides to write a diary. Going over his sixties and the repetitions he can perceive in the sad tiredness of failing to find his grail, the letter correspondence is no longer in fashion, he wants to fix on paper because of the time passing by.