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Cécile RaynalLongtemps, au loin, l’Iran (with Émilien) by Cécile Raynal - Stoneware sculpture2017
2017
About the Item
Longtemps, au loin, l’Iran (with Émilien) is a unique smoke-fired stoneware sculpture by French contemporary artist Cécile Raynal, dimensions are 160 × 52 × 45 cm (63 × 20.5 × 17.7 in). Dimensions include wooden base.
This sculpture is a unique piece signed by the artist and comes with a certificate of authenticity.
A man and a suitcase are the subject of this installation of figurative smoked sandstone sculptures. With his arms crossed and his left hand held up to his face, the man stands with the suitcase at his feet. It appears as though he is waiting, thinking. The situation is implied by the title of the piece. After being forced into exile, the man seems to be gazing off into the distance, possibly thinking about his native country.
Cécile Raynal uses sculpture as a way of exploring the world, between documentary and fiction. Thus she often sets up her workshop in remote, forgotten or marginal places, that she goes over and then reconstructs in clay. A prison, a retirement home, a hospital, a convent, a cargo-ship… are among the places in which she invites the inhabitants to pose for her, so as to sculpt their portraits and capture these rare encounters.
- Creator:Cécile Raynal (1966, French)
- Creation Year:2017
- Dimensions:Height: 63 in (160 cm)Width: 20.48 in (52 cm)Depth: 17.72 in (45 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Paris, FR
- Reference Number:1stDibs: LU803113640692
Cécile Raynal
Whether human or animal, Cécile Raynal’s figures are a way to explore the world. The artist travels to remote, forgotten or marginal places immortalising in clay life stories that she brings back to her studio. Her work has been exhibited in prestigious museums such as the Musée des Arts et Métiers (Paris, 2018) and is the subject of ambitious public commissions such as the bronze sculpture of Winston Churchill in Cap-d’Ail (France). “The result of chance or sought-after encounters, my work starts with the sculpted portrait, a totemic record of each of these confrontations, and builds itself on the complicity, the exchanges and the correspondence resulting from them.”
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