Scrolli - Richard Mas: Sculpting the soul of the Riviera

Richard Mas:

Sculpting the soul of the Riviera

Richard Mas was one of the leading figures in modern sculpture, known for his fantasmagorique style. His works offered a surreal, post-futurist aesthetic that envisioned positive ways of existing amid today’s chaotic world. When Mas passed away in 2021, he left behind an artistic legacy of more than 450 sculptures.

Following his death, his wife Anna Mas took on the vital role of keeping his legacy alive. She founded Mas Sculpture, an organization dedicated to sharing Richard Mas’s work with wider audiences. We met with Anna Mas at Richard’s studio in Villeneuve-Loubet, a town near France’s Côte d'Azur. Welcoming us with a warm smile, she opened the doors to a studio that felt like stepping into Alice in Wonderland.

Interview: Melis Bayraktar

After Richard Mas’s passing, continuing the artistic journey must be difficult. What challenges have you faced along the way?

Carrying forward his creative journey has indeed been a challenge. Together with our children, we are doing everything we can to keep Richard Mas’s unique vision alive. We have taken on major responsibilities — from promoting and preserving his works to organizing exhibitions and sales. It’s a demanding task, but we are deeply committed to continuing his legacy.

Richard’s sculptures have been exhibited in London, Gstaad, Hong Kong, Miami, Turkey, and the United States. Some of his works are displayed at the Monaco Botanical Gardens and along the Croisette during the Cannes Film Festival.

In France, eleven of his sculptures are on display at Cap 3000, a shopping center near Nice in Saint Laurent du Var. Richard always believed that art should not be confined to galleries and museums. His sculptures should be accessible to everyone. Since this exhibition opened in 2022, we have reached a wider audience. In fact, I think there’s hardly anyone left in the South of France who hasn’t taken a photo in front of his “Rooster with Wings” sculpture.

I remember seeing it for the first time during the Cannes Film Festival, at Armani. I took a photo in front of it too. Do you know where Richard got the idea for the Rooster/Hen sculpture?

Every project Richard worked on had its own mental process. He completed his designs only after extensive reflection. When it comes to the "Rooster and Hen" sculpture, he drew inspiration from cultures and from women. At the time, he imagined a new dawn rising over a world in economic crisis — and women raising their voices more powerfully than ever. You see, in recent years, women have moved beyond seeking equality with men. They are asserting their presence, standing up, and showing their strength. During the 71st Cannes Film Festival, for example, 82 women protested gender inequality. Former Hollywood producer Harvey Weinstein is no longer welcome at Cannes. All of this was possible because women raised their voices.

As for why Richard chose the rooster/hen as a symbol, it ties back to deeply rooted cultural meanings. Animal symbols, particularly those seen in art, carry rich and layered interpretations. Symbolism has been an essential mode of expression in many cultures throughout history.

On the global stage, the rooster symbolizes belief and light. Its crow at dawn signals the sun’s arrival, light overcoming darkness, and goodness defeating evil. In France, the rooster also represents national pride and resilience.

The wings and comb on the rooster in Richard’s sculpture are shaped like women’s hands. This references Kybele, the mother goddess of Neolithic and Chalcolithic times, symbolizing fertility and abundance.

Many of Mas’s works are also displayed in the streets of Cannes

I don’t know if you’ve heard, but in Islamic and Turkish traditions, the rooster -especially the white rooster- holds significant symbolic meaning as well.

Yes, the rooster’s symbolism extends far beyond France. Across many cultures, it has been a symbol of the sun and pride, tied to its morning call and the rise of the sun.

In Islamic and Turkish traditions, the rooster appears frequently. In the Pazyryk kurgans from the Hun period, rooster and hen motifs are abundant. You can also find these figures in Seljuk and Ottoman miniatures, calligraphy, frescoes, metalwork, woodwork, stone carvings, and carpets. Some of the finest examples include the Seljuk manuscript Varka and Gülşah and Ottoman works like Hümayunnâme and Zübdetü’t-Tevârîh.

You founded Mas Sculpture to preserve Richard Mas’s legacy. When and where will it open? I’m looking forward to it...

After Richard passed away, our children and I founded Mas Sculpture to keep his legacy alive. The gallery will open soon, right at his studio. We aim to showcase more than 450 of his sculptures to a wide audience. Visits will be by appointment.

How do you see the state of art in Turkey compared to France?

Turkish art is gaining a stronger presence in the global market. You have highly conscious artists and gallery owners. I’ve met many Turkish art lovers during Richard’s exhibitions.

During the 2014 Cannes Film Festival, the art consultant of Istanbul’s Mercure Hotel purchased Richard’s Mr. and Mrs. Smile sculpture, which he designed for the Festival. The story behind Mr. and Mrs. Smile is one we can all relate to — a story of nightmares and hope. Since 2000, over 150,000 people have lost their lives to terrorist attacks. We’ve felt that pain deeply in Istanbul, Ankara, Nice, Paris, and beyond. We’ve been afraid. Yet this sculpture reminds us to smile despite it all. It’s on display in the lobby of the Mercure Hotel in Taksim, Istanbul, for those who want to see it.

Throughout history, sculpture has struggled against societal structures, beliefs, and politics. Sometimes it served religion, other times royal courts, and still other times political agendas. Even when it gained freedom, it never completely escaped those pressures.

Unfortunately, sculpture still faces similar obstacles today.
Even in France, there was a time when some galleries refused to exhibit Richard’s work because they found it “too bold.”

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