I started my sculpting career as a stone carver. I was most interested in volume, mass and the art of the curve. The narrative had much to do with Archaic themes and figurative references. Today things have shifted to the opposite side of the spectrum. Not only do I concentrate on minimal elemental forms but I have removed the narrative, so to speak, as well – or so it seems. It has occurred to me that even by removing the narrative it has been replaced by another of a mystical nature. Cryptography, geometric formulae, visual illusion, the unconscious and spirituality all come into play as an underlying theme that initially eluded even me. For Art in Public Places I approach a project from the stand point of telling the story by searching for deeper emotional elements. For instance, rather than depicting a firefighter carrying a child down a ladder from a burning building and sculpting the event like a frozen snapshot in bronze, I prefer to find deeper references to the emotion of the event: courage, elation, celebration of lives saved. To tell that story, I explore pure form by reducing and subtracting, experimenting with different materials, finding ways to bring the public into a space and direct their attention to their surrounding environment with references to the event that stimulated the project at it’s inception. This is what keeps me interested in the never ending challenge of the story of Art. – Moran de Musée 2024 "What is important to me, is not the image but the object."