Tarte III / Espace, Bronze Sculpture by Zigor 'Kepa Akixo', Pays Basque, 2015

Zigor’s work is shaped by his relationship to the environment of the Basque region-both by the natural landscape as well as the significance of the Basque identity. His sculptures an...

Zigor’s work is shaped by his relationship to the environment of the Basque region-both by the natural landscape as well as the significance of the Basque identity. His sculptures an...

Zigor’s work is shaped by his relationship to the environment of the Basque region—both by the natural landscape as well as the significance of the Basque identity. His sculptures an...

Zigor’s work is shaped by his relationship to the environment of the Basque region—both by the natural landscape as well as the significance of the Basque identity. His sculptures an...

Zigor’s work is shaped by his relationship to the environment of the Basque region-both by the natural landscape as well as the significance of the Basque identity. His sculptures an...

Zigor’s work is shaped by his relationship to the environment of the Basque region—both by the natural landscape as well as the significance of the Basque identity. His sculptures an...

Louange III by Bertrand Créac'h Material: Bronze, black patina Dimensions: H 110 cm Year: 2021 Louange III represent an abstracted exploration of the mineral landscapes of Brittany ...

'Orchid' by British sculptor Thomas Joynes resulted from the artist's long fascination with the works of Naum Gabo and his role in the Constructivism movemen...

Large Napoleon III period bronze sculpture by Jules Bertin French, 1879 Measures: Height 140cm, width 58cm, depth 58cm This exceptional sculpture is by Jules Bertin, a leading F...

Sculptures in hand-hammered aluminum by Jacques Jarrige. Jacques Jarrige has always explored the relationship between line and space, material and void to its very limit in his sc...

A porcelain sculpture by Wayne Fischer. Perfect original conditions. Signed. Unique piece. 2015. How can an inert object produce deeply unsuspecting, indecipherable, uncontrollable emotions? Wayne Fischer is an artist who can create works that force one to ask such moving questions as this. If he doesn’t know why, if he can’t explain the deepest reasons of his artistic research, he definitely knows the workings and limitations of the artistic process he invented. He has never deviated from the course he set for himself since university; translate life. The works presented here show the evolution of his creations over the past thirty years. If Wayne Fischer has received several international prizes and quickly obtained the recognition of his peers in ceramics, nevertheless he retains a singular position at once unavoidable and disturbing. His sculptures are paradoxical, powerful and sensual, and cause a certain unease. They are beautiful, carnal, touchable, all the while being outside the standard idea of beauty. The ambiguity of attraction and rejection is at the heart of this evolution. The pieces from the 1980s and 90s are imposing by their size, stature and symmetry, which give them balance. They generate surprise, curiosity and play between contrasts that are both soft and aggressive. They reference the body, muscles, and torso, without presenting an exact reality. They are double-faced, seductive, and enigmatic. Wayne’s shapes are inspired by shells, bivalves, sometimes presented as though they are floating in space. But the reference of the marine world to the mysterious female body has only one interpretation and only history and emotion condition the reaction of the spectator: he accepts or refuses to see, to be seduced. He is touched or he flees. The more recent sculptures are appreciated in the fullness of their round volume and the search for a pure universal beauty. “Metamorphosis,” the work recently awarded by the Bettencourt Foundation, is from this series of pieces wheel- thrown and deformed which pushes the porcelain from the inside so the bulges evoke the movement of waves or the musculature of several bodies. The exactness, the clean breaks, the assurance of lines and valleys are testimony to the interior power that governs the creation. The life energy expressed is also felt by the artist as the origin of ceramics. All the pieces are curved and tense. They show no marking, no sign of the hand, no imprints, and yet give an impression of spontaneity, as if a dropped piece of clay found its form by chance. Depending on the angles, the content becomes “the origins of the world...

Bronze sculpture by Van Der Straeten, circa 1885, Napoleon III. Bronze bust of Jeune femme, Napoleon III period sculpture, 19th century, Paris, circa 1885 by Van Der Straeten . Dim...