"In the Clouds" is a work conceived as a threshold: a passage between the visible and the invisible, between the concrete world and an inner space often forgotten.
In the valley, the cloud seems to have settled there unexpectedly, like a fragment of the sky placed on the grass. Its apparent lightness recalls both childhood and the impulses of dreams; its still presence responds to the mountains of Sancy, which have stood watch for millennia.
The installation plays with an essential paradox: to climb in order to descend, to rise in order to relearn how to look at what surrounds us. The gesture is simple, almost archaic: climb a ladder, put your head in a cloud. But the ritual transforms the experience. Because the cloud speaks. Because it watches. Because it asks questions we no longer listen to.
The questions whispered by the voice are the sensitive heart of the project.
They weave a dialogue between humanity and nature, between the visitor and the territory, between the intimate and the millennial. They never provide answers: they open a space. They invite everyone to feel, to remember, to reflect, or simply to let themselves be moved.
This sculptural installation by Romano unfolds, at the heart of the landscape, a constellation of ladders planted in the earth, each topped with a floating yellow balloon, fragile and luminous. The work poetically addresses the intimate tension between our need for evolution, elevation, and transcendence, and the heavier, more grounded forces that hold us back, slow us down, or constantly bring us back to the earth. The ladders seem to offer a path to the sky, while the balloons embody the dream, the impulse, the promise of a possible transcendence. Yet, one question remains suspended in the air: will the balloon be strong enough to truly elevate? Monumental, silent, and deeply sensory, the installation leaves ample space for free interpretation. Some will read it as a message of hope, lightness, and resilience, while others will perceive a more melancholic vision, where the weight of life ultimately prevents any true ascent. Between sky and earth, the work thus becomes a sensitive mirror of our own impulses, doubts, and limitations.
Inégalités est une installation sculpturale de Romano qui met en scène une communauté silencieuse de chaises disposées dans le paysage comme une agora contemporaine. Certaines sont modestes, à peine émergées de la terre, presque englouties par le sol, tandis que d’autres s’élèvent de manière spectaculaire, perchées sur de longues structures, dominant l’espace et les regards. Chaque chaise incarne une place, un statut, une position dans l’architecture sociale, révélant la diversité et la disparité des rôles que chacun occupe dans la société. L’ensemble évoque une harmonie apparente, un vivre-ensemble paisible, presque solennel, où toutes semblent réunies dans un même cercle de dialogue. Pourtant, cette harmonie est subtilement questionnée : peut-on réellement parler d’égalité lorsque certains siègent si bas qu’ils disparaissent, tandis que d’autres prennent de la hauteur jusqu’à frôler le ciel ? Entre agora antique et métaphore contemporaine, l’œuvre interroge la coexistence, la représentation et la fragilité d’un équilibre social qui, sous ses airs calmes et ordonnés, révèle de profondes asymétries.
« Le Chamois et la Barque » est une œuvre pensée comme une énigme poétique, un
fragment de récit échoué dans un paysage qui n’a rien demandé.
De loin, on aperçoit une barque posée au sol ou flottant immobile ;
de près, on découvre un chamois hyperréaliste, figé dans une posture d’attention.
Rien ne bouge mais tout semble sur le point de se mettre en mouvement.
C’est cette tension, ce calme suspendu, qui constitue le cœur du projet.
Le chamois est un animal emblématique du Massif du Sancy.
On le croise parfois sur les falaises, rarement de près.
Le voir ainsi, dans une barque, est un geste volontairement impossible :
un trompe-l’œil émotionnel qui déplace notre perception du vivant.
​"Between Two Rains" is part of this approach: a work that is both poetic, social, and ecological, designed to engage with passersby and the landscapes. Two headless figures, standing under a red umbrella, stand side by side on a dark pedestal. This simple gesture becomes a symbol of shelter, brotherhood, love, and solidarity. Despite the absence of faces and the visible tears on the silhouettes, a gentle emotion and palpable complicity emanate from this scene. Something of love, the passage of time, and brotherhood remains, even when the forms fade.
These sculptures by Romano, made life-size, deploy a presence that is both gentle, striking, and deeply meditative at the heart of the forest. Half-buried in the earth, entwined by roots, moss, and foliage, these figures seem to slowly be reclaimed by the living. Their peaceful posture, their serene, almost smiling faces, evoke a trusting surrender to nature, as if the body accepts and even welcomes its own transformation. The forest is no longer a backdrop, but a matrix, a refuge, a place of regeneration where the human and the vegetal resonate together. These works speak as much of well-being, slowness, and reconnection as they do of the invisible dimension of the life cycle. The choice of sculpture, a lasting and silent material, introduces a philosophical depth: these frozen bodies embody life after life, the gradual fusion of human particles with those of the soil, roots, and trees. At the border between eternal rest and rebirth, these figures offer a sensitive and peaceful vision of death, not as an end, but as a loving return to the living world.