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Cécile RaynalSelon Maud by Cécile Raynal - Stoneware sculpture, female figure, dream, poetic2015
2015
$12,873.51
£9,691.78
€10,900
CA$17,734.11
A$19,861.08
CHF 10,363.19
MX$242,594.58
NOK 131,849.90
SEK 124,284.33
DKK 82,972.28
About the Item
Selon Maud is a unique smoke-fired stoneware sculpture with metal matt black paint by French contemporary artist Cécile Raynal, dimensions are 99 × 75 × 65 cm (39 × 29.5 × 25.6 in). Dimensions include wooden base (oak 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: 38.98 in (99 cm)Width: 29.53 in (75 cm)Depth: 25.6 in (65 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Paris, FR
- Reference Number:1stDibs: LU803115003542
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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