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Cécile RaynalAt the edge (with Maurice) by Cécile Raynal - Male portrait, stoneware sculpture2015
2015
$5,566.55
£4,157.70
€4,700
CA$7,637.52
A$8,533.66
CHF 4,464.05
MX$104,649.98
NOK 57,042.07
SEK 54,090.99
DKK 35,780.19
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About the Item
At the edge (with Maurice) is a unique smoke-fired stoneware sculpture by French contemporary artist Cécile Raynal, dimensions are 155 × 128 × 58 cm (61 × 50.4 × 22.8 in). Dimensions include wooden base (wood table).
This sculpture is a unique piece signed by the artist and comes with a certificate of authenticity.
This piece of art is a part of Cecile Raynal's one-of-a-kind collection called "Les Ombres d'Alice". One of the collection's main references is Lewis Caroll's Alice in Wonderland, which transports the viewer to a lyrical realm full of bizarre and fantastical creatures.
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:2015
- Dimensions:Height: 61.03 in (155 cm)Width: 50.4 in (128 cm)Depth: 22.84 in (58 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Paris, FR
- Reference Number:1stDibs: LU803115894282
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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