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Both had instinctively rejected the so-called \u201cclassical\u201d techniques and forms of sculpture, a sentiment C\u00e9sar and Hiquily had felt almost from the moment they entered the \u00c9cole des Beaux-Arts in Paris, where they shared seats in the Gimond studio. Moreover, in the harsh post-war period, \u201cnoble\u201d materials were too expensive for young artists. Thus, with delight, they preferred to dive into junkyards and industrial wastelands, transforming themselves into true \u201cscrap metal dealers\u201d of art. For both Hiquily, a genius of balances and improbable pairings, and C\u00e9sar, a true poet of the dynamic physical processes from compression to expansion, discarded scraps became a major source of inspiration, which they gladly shared.<\/p>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t