Sarkis Tossonian

"Freedom II" Sculpture 42" x 11" x 5" inch by Sarkis Tossonian

2022

"Mannequine III" Sculpture 49" x 13" x 5.5" inch by Sarkis Tossonian Sarkis Tossoonian was born in Alexandria in 1953. He graduated from the Faculty of Fine Arts/Sculpture in 1979....

"Freedom I" Sculpture 49" x 38" x 6" inch by Sarkis Tossonian Sarkis Tossoonian was born in Alexandria in 1953. He graduated from the Faculty of Fine Arts/Sculpture in 1979. He started exhibiting in individual and group exhibitions in Alexandria since 1980 and up until now. Sarkis Tossoonian won the second prize in Sculpture in the 5th Biennale of Port Said in 2001. Sarkis Tossoonian excels in blending two different mediums in his works like non shiny bronze with shiny golden brass. His figures stand for both male and female dressed elegantly and representing mostly noble graceful figures Although metals are his favorite material, Tossoonian returned to Aswan symposium to carve another statue of granite for the second time. This year, the artist wants to carve what he wished to do last year but failed due to the disobedience of the stubborn piece of stone. A long and thin sculpture...

"Mannequine I" Sculpture 42" x 11" x 5" inch by Sarkis Tossonian Sarkis Tossoonian was born in Alexandria in 1953. He graduated from the Faculty of Fine Arts/Sculpture in 1979. He s...

"Cloaked Woman" Sculpture 50" x 15" x 6" inch by Sarkis Tossonian Sarkis Tossoonian was born in Alexandria in 1953. He graduated from the Faculty of Fine Arts/Sculpture in 1979. He ...

"Mask of the Minister of Culture" Sculpture 16" x 12" in by Gosha Ostretsov Edition 2/10 Born in 1967, in Moscow Lived in Paris for ten years (1988 - 1998), now lives and works in M...

"Mask of the Minister of Education" Sculpture 16" x 13" in by Gosha Ostretsov Edition 2/10 Born in 1967, in Moscow Lived in Paris for ten years (1988 - 1998), now lives and works i...

Circus Elephant , 2022 Polystyrene, wood, aluminum and industrial paints 40 x 35 x 5 cm 16 x 14 x 2 in As an Industrial designer, I was trained to perform the creative act of dete...

Circus Seals , 2022 Polystyrene, wood, aluminum and industrial paints 35 x 45 x 5 cm 14 x 18 x 2 in As an Industrial designer, I was trained to perform the creative act of determi...

Signed and numbered limited edition #2 of 8. Idan Zareski is a French-Israeli artist born in Haifa, Israel. Life would take him through many countries, bearing witness to diverse cu...

"As an artist I strive to create elegant sculptures that capture the true essence of the subject matter. Form, line and surface are used as the visual language. The figure is abstrac...

Challenger consists of a replica of the escape hatch from the NASA space shuttle installed as if it has fallen from the sky and flattened a Canada P...

Text by Nancy Webb It’s Saturday night and Karine Payette is in her studio. We meander into a conversation about the dog she used to have and her soft spot for German shepherds, an intensely obedient and loyal breed in a deceivingly wolf-like package. Payette’s most recent series of photographs, sculptures and video work seem to speak directly to this preoccupation with the multifaceted nature of human-animal relationships—the dialogues of control, intimacy, violence and domestication that subtly take place on an interspecies level. Her workspace is part laboratory, part prop closet—a bowl of fur sits not far from her computer. Somehow in this bright, open, chemical-clean scented room, Payette conjures wildness. We are taken to a strange place, the borderlands of interspecies mingling. At one extreme of the animal-human dynamics scale is the stalwart compliance of a professionally trained German shepherd who responds to commands with robotic precision. Here, power is comfortably held by an off-screen voice, animality pacified by a set of linguistic prompts. At the other end of the scale is a sculpture of a human figure clad in red, sharing a languorous kiss with a wolf. The story of Little Red Riding Hood is immediately called to mind, except that here our hooded protagonist seems to have bailed on grandmother’s orders, instead opting for a forest floor make-out with her canine stalker. This taboo mise-en-scène is a brazen inquiry into the boundaries we maintain with our animal counterparts. Its scale and three-dimensionality contribute to a feeling of immersion that the artist has been courting with her work for the past several years. It feels as though you’ve just walked in on something: you are implicated and your discomfort is like an invisible mist that coats these inanimate beings. Elsewhere in Payette’s suite of anthropomorphic works, the demarcation between species grows even fainter. A photographic series depicts the slow encroachment of fur, scales and feathers on human skin—a striking process of contamination facilitated by touch. The fusion of flesh, charcoal cat fur and a pale silky dress...