Recently, when in the same conversation, the names of both Pierre Tal Coat and Toni Grand were uttered, the harmonics of a same chord suddenly resonated within me. As if the distant echo of a thing both known and silenced escaped from these two notes played together. As if a common « sympathetic » vision of the world and nature preexisted at the source of their respective work. Addressing Tal Coat’s work, Henri Maldiney talks of a « fundamental relationship between Tal Coat and the universe that isn’t aggressive but sympathetic ». As is said of sympathetic chords, those we do not strike but simply vibrate by resonance
by sympathy - due to their sole proximity to the strike chords. Toni Grand’s work operates in a similar way. Confronted one to the other, both of these works benefit from that same relation.