A very long 110 x 2.4 metre blue painted line runs down the length of the exterior of the Swiss Re Academy building. A colour wrap of the building’s skeleton? An optic strip to tease the eye? Mosset has said that he's interested in colours "in shapes and in surfaces," and here he brings together both. It may sound simplistic but in the context of Mosset’s work, this is a matter of reducing his palette to the purest form.
Mosset’s painting has been variously described as "conceptual" and "minimal" but he has said succinctly: "I’m sure some people will not notice that it's art. The challenge is not to do something that is design or decoration. It has to keep this status of art or painting."
This semi-public piece contrasts with the more intimate surroundings of his other commissions placed within the offices. For the former, the painting is experienced as part of how we look at the building and, for the latter, we are bound to be more aware of our own bodies in front of the work.
For Sketch I, Mosset painted four yellow and three brown panels, each nine metres high – the biggest paintings he has ever done. How did he choose the colour? "This is a nice way to ask something. The colour might have chosen me…," Mosset has said, somewhat enigmatically. The possibilities of painting have been at the heart of his work. As he puts it: "I have problems with painting and I have problems painting them, and it's the fact that I am not happy that makes me go on…."
For this commission, though, Mosset was mindful before he started about who it was for: "The situation here is a bit special because it's a public situation, which means that some people who are not interested in seeing artwork, have to look at it, or pass by it; so you have a responsibility that you don’t have in a museum."