Bégou, unifying patronym almost become metonymic, inseparable couple as well in the life as in work, had an exemplary course whose take-off was grafted on the emergence of French contemporary glass on an international scale. After employbeing employed as a person in charge for the maintenance of the furnaces, in Biot, where fascinated, it starts to blow glass, then a formation in the artisanal glassmaking of Allex, Alain decides with his wife to found, in 1979, their own workshop. Always difficult, the beginnings quickly led to a spectacular recognition after the enthusiasm generated by the presentation of a somewhat exceptional, unusual part in their production of the moment, for the French of exposure New Glass, in 1982, on the initiative of Yvonne Brunhammer, preserving version of the museum of Déco Arts of Paris. This event will always form part of their history insofar as it constitutes the origin of their plastic step at the same time as it devotes their work in duet. The shrub proves extremely floriferous then. The binomial, set up in "self-sufficing microcosm" said Attilia Dorigato, preserving Museum of Murano, puts then little by little places from there a work located halfway between painting and the sculpture, at the same time tributary and motor coach of the esthetics and the practice of the soufflage.Ils have developed, for more than twenty years, a true relational system, which lies in the common choice (essential interdependence) to make profitable their respective qualities. Thus creating in dialogical manner, Alain and Marisa developed a manner of working which, if it takes account of the experimentation rests on precise knowledge and a technicality, controlled.

More twenty years, therefore, that they employ the archetypal shape of the mud, inherent in the history of the man. Initially the largely opened mouth, then temporarily completely occulted before not being more but one slit, suggestion of the air around whose work is puffed up, mud at evacuated summer of its dimension of receptacle, of its paramount function, to exist only for and by him even, like autonomous objet d'art. At the monochromic or polychrome beginning, made of a set of transparent or translucent layers, sets of bubbles of air letting show through obvious intrinsic qualities of material, the parts were then seen declining according to all formal and decorative possibilities' conceivable. Work on the color legitimately took the top and the muds, gradually, were transformed into support with an aim of receiving the decoration. Glasses were opacified, thus adapting to the application of the images carried out by Marisa. Abstract and lyric images made up of powders, signs, reasons, graphics and textures which bring closer its creations those of the Navajo Indians, of the Aboriginals of Australia, certain Arab or Japanese penmanships, when it is not a question of the impressionists or the color field painting. nonfigurative but representative "Painting", which draws its source in the imaginary one or the environment and whose interpretations are infinite. And Alain, in a ballet increasingly more powerful, a ritual choreography subjected to the exactitude of the gestures in this combat with the matter, being next to with the physical and mechanical limits, works out full, organic and fertile forms which have to see with their symbiotic union and which accomodate these "tables", coat them, include them. From these turgescent or flat bellies, inflated by the breath, the memory hidden in each intercalated layer emerges, in each layer.

One will retain humility, obstinacy, the simplicity of their speech, which is made of no absolute formulation, of any obsolescence nor of emphase and a large respect for the interlocutor. If they want to be "craftsmen" or "workmen", if Alain often has the "support" of the compositions of Marisa, there is not actually any hierarchy so much art is exalté by the association of their spirit and their hands. They exchange, share their intuitions as much as their tasks, they are an example of cohesion. Creation is a third per which they seem to have been, it becomes the means of being registered to two in the world, to find balance, it only becomes a place of intimité.A it, this exposure of the Gallery Places Arts manages to put in prospect all the problems related to work for Bégou. If it attempts to show mainly their last parts, their operation can nevertheless be deciphered through these ultimate plastic orientations (conceptual, formal, chromatic and pictorial) completely representative. The artists are here still proof of their creativity and the constant evolution of their work, as attest some the Triptychs, these parts made up of three indissociable elements whose operation would become impossible if it had suddenly missed some.