Ron Mueck is a world renowned contemporary sculptor. His works are present in many international museums. Among the many representations of babies I will cite: A Girl, 2007, National Galleries of Scotland; Baby, 2000, Thaddaeus Ropac Gallery; Mother and Child, 2003, Thaddaeus Ropac Gallery. What touches me in his approach is his desire to associate the representation of hyperrealistic, off-scale bodies with the strength of the emotions that accompany different moments of our lives. By choosing to represent Mother and Child, I gave myself this problem: “Can we represent the sacred character of this moment, just after childbirth, by escaping a priori judgments on nudity?” The answer on this site is NO. This scene represented by Ron Mueck is sacred in my eyes because it is first and foremost a story of ties: apart from the cord that still unites them, there is mainly that of the gaze that unites the mother and her child, both as amazed at what is happening to them. I also liked the idea that the soft belly of the mother becomes a kind of throne-cushion for this child-king, and that this deformed body remains beautiful. Of this presence in my image, only the umbilical cord remains, which I have kept as a symbolic trace of what there was between my idea and its formal presence, after all, a child is first of all the idea that his parents have of him before being present among them. Knowing that in our society, the nudity of children has become suspect, my second problem was to make the body of this baby respectable. I wasn't going to dress him in jeans like in an old ad that I won't name, so I chose to place a visual barrier in front of her naked body. This obstacle will be given by outside visitors, but which ones? It was then that I thought of two characters from Duane Hanson: Museum Guard, 1975 and Security Guard, 1990. I placed them like shepherds or wise men around the nativity. This is what invited Georges de La Tour's painting into the scene. The Security Guard torch then had a dual function: while partially hiding the body of the child, it gave the impression that its light could emanate from the very body of the child, as in this other painting by Georges de La Tour, Saint Joseph, carpenter. The term epiphany in the title refers to the manifestation of a hidden reality, here it was a question of evoking a possible filiation between Duane Hanson and Ron Mueck, through a certain realism of 3D imagery that I also seek to put at the service of an emotion. I do not understand the point of taking the time to grant an interview to nemirc (thank him for that), if my approach and my intentions are still so misunderstood. I continue to think that doing an artistic act means taking the risk of transgression, if you don't want to be drowned in the flood of tasteless and identical images that flood social networks. I believe that I lost my last illusions in my capacities to transmit what is Art on this site. Believe me, I regret it.