David Shrigley

'Really Good' Sculpture

2016

David Shrigley is an artist and illustrator best known for his mordantly humorous cartoons. Self-branded as an outsider in the art world, Shrigley is...

Pumpkins have been one of Yayoi Kusama’s (b. 1929) favorite subjects since the 1980s, recurring with such frequency as to function as a kind of avatar for the artist. In describing t...

Fine Artist from Georgia Details: "Nocturne", 2018 Technique: Medium Format Film Photography on Kodak Endura Print Image dimensions: 10 x 8 in (25.4 x 20.3 cm) Comes with black w...

Fine Artist from Georgia Details: "Self", 2020 Technique: Oil on Wood Image dimensions: 27 x 19.5 in (68.58 x 49.53 cm) Hand signed by artist Excellent condition

Jean-Paul Riopelle (1923-2002) born in Montreal, was the only Canadian artist involved with the seminal post-World War II School of Paris. Riopelle was also one of the first Canadi...

Born in Armagh, Northern Ireland, Hugh Thompson studied Fine Art privately under Amanda Traversari in Belfast and has been painting for over 35 years. Thompson paints in the Classic ...

Ross Bonfanti Butterfly, 2015 Concrete, mixed media 10 x 16 1/4 x 2 1/2 inches (25.4 x 41.3 x 6.4 cm)

Gérard Cambon was born in 1960 in Toulouse (Fr). He has a degree in political science and is a self-taught artist. In the earlier years of his life practiced and experimented with collage and model making. Later, with an interest in old machines and patinas he started collecting old and used objects, tools, and fragments of items whose previous lives remained obvious. When he travels, one of his greatest pleasures is to find materials in antique shops or ironmongeries. In 1994, he began creating Locomobiles and reliefs and presented them to the public for the first time at “La Jeune Peinture,” a Parisian art fair. In 1995 , he stayed during 8 months in the hospital for eight months (leukaemia) where he began preparing and creating plans for new Locomobiles and reliefs. As his health improved, he committed himself to his artwork and during the same year met a Parisian gallery owner who decided to organize a solo show for him, Le Galerie Beatrice Soulie in Saint Germain des Pres. He has shown his work since 1996 in Paris and since 2000 in the United States (New York, Los Angeles, Chicago, Seattle). He is currently being shown by galleries in France, Belgium, Switzerland, Luxembourg , Denmark, and the United States. He keeps on trying out new materials (fabric, leather, glass, plants, metals,…) that he integrates into his bas-reliefs: traction engines...

Gérard Cambon was born in 1960 in Toulouse (Fr). He has a degree in political science and is a self-taught artist. In the earlier years of his life practiced and experimented with collage and model making. Later, with an interest in old machines and patinas he started collecting old and used objects, tools, and fragments of items whose previous lives remained obvious. When he travels, one of his greatest pleasures is to find materials in antique shops or ironmongeries. In 1994, he began creating Locomobiles and reliefs and presented them to the public for the first time at “La Jeune Peinture,” a Parisian art fair. In 1995 , he stayed during 8 months in the hospital for eight months (leukaemia) where he began preparing and creating plans for new Locomobiles and reliefs. As his health improved, he committed himself to his artwork and during the same year met a Parisian gallery owner who decided to organize a solo show for him, Le Galerie Beatrice Soulie in Saint Germain des Pres. He has shown his work since 1996 in Paris and since 2000 in the United States (New York, Los Angeles, Chicago, Seattle). He is currently being shown by galleries in France, Belgium, Switzerland, Luxembourg , Denmark, and the United States. He keeps on trying out new materials (fabric, leather, glass, plants, metals,…) that he integrates into his bas-reliefs: traction engines...

Gérard Cambon was born in 1960 in Toulouse (Fr). He has a degree in political science and is a self-taught artist. In the earlier years of his life practiced and experimented with collage and model making. Later, with an interest in old machines...

An extraordinarily moving piece by an outsider artist who must have spent many a day conceiving, cutting, hammering, soldering and welding this stunning metal group made of tin and iron. The result is something completely individualistic, which at the same time recalls early medieval...

Guillaume Couffignal (French b. 1964) Theatre, 2014. Bronze. 19 7/8 x 13 1/2 x 7 1/4 inches. Signed on the base: Couffignal. Beautiful texture and patina. Guillaume Couffignal is a French Postwar & Contemporary self taught, outsider artist who was born in 1964. He works in bronze casting complex, fantastic, architecture models, abstract theater and boat models that look like relics from the past. He learned the art of lost wax casting with a traditional African foundry in Koudougou, Burkina Faso in Africa when he was 23, blessed to find his way so young. He felt the deep alchemy of the process combining the elements of Nature to produce a concept that did not previously exist in our world. He saw the potential of this earth magic. It forces chance and pushes the limits of bronze because each sculpture can never be exactly reproduced. Like the use of clay, this art has a deep connection with the primitive elements of Nature. There is the wind and the sky and the earth and the fire. There are ashes and dust. Here exists a collaboration with the spirit of the Illusionist, an artist in all his unpredictability. But it is not an art of chance. The Illusionist / artist masters the elements of accident and surprise. He is a magician who controls the secrets of his process. In the case of Couffignal, this has to do with the three-dimensional collage of carefully chosen fragments and shapes and with its earth-like textures, carefully perfected over many years of experimentation. Its textures make the materials lie. They have an irregular patina of wear and bad weather. They make bronze itself secondary with this creamy pigmentation of the earth burnt by the sun. The texture then becomes a painting. Couffignal sets the scene for the pure drama of the void. He fills it with memories and voices. This decor is visually minimal, but this very minimalism points to the importance of his other intentions. Its boats are "soul boats" caught between two universes. Its architectural pieces evoke ruins and nevertheless attest to their own existence. Although this process is ancient, and in this case learned from the African tradition, the true testimony of the power of Guillaume Couffignal is that not a single element of his work derives from something existing. As a true iconoclast, he has taken up a traditional language, learned this language, and starting from this language has created a poetry completely unique and unique to him. Randal Morris, 2013. His work is from the tradition of outsider art, art brut, folk art, naïve art, visionary art and intuitive art with a sophisticated subject matter. A kind of symbiosis of jean Dubuffet and Daniel Arsham. Sculptures as forgotten images of a world where the trace always precedes presence. As in the art of raku, ancestral Japanese pottery where the cooking accident and the patina of use - wabi and sabi - testify to an intimate cosmogonic geography. Omnipresent memory of the color and the smell of the earth - mud, noble material which in Africa is used to erect huts, houses, palaces and mosques. Historically and up to the margins of the caravan route, on the borders of the great Arabic Muslim...