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Cécile RaynalInès by Cécile Raynal - Female portrait, stoneware sculpture, hospital staff2019
2019
About the Item
Inès is a unique smoke-fired stoneware sculpture (pigments, cypress plinth) sculpture by French contemporary artist Cécile Raynal, dimensions are 57 × 14 × 25 cm (22.4 × 5.5 × 9.8 in). Dimensions include wooden base (cypress wood plinth).
This sculpture is a unique piece signed by the artist and comes with a certificate of authenticity.
This sculpture was featured in the exhibition "A l'enfant qui nous garde". It was produced after the artist spent eight weeks creating art in a maternity hospital in Lyon. Throughout her residency, Cécile Raynal provided insight into both the patients' and the hospital staff's daily lives, of which "Inès" is a member.
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:2019
- Dimensions:Height: 22.45 in (57 cm)Width: 5.52 in (14 cm)Depth: 9.85 in (25 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Paris, FR
- Reference Number:1stDibs: LU803115077302
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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