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Cécile RaynalSolo (with Chloé) by Cécile Raynal - Stoneware sculpture, female figure, bust2015
2015
About the Item
Solo (with Chloé) is a unique smoke-fired stoneware sculpture by French contemporary artist Cécile Raynal, dimensions are 48 × 60 × 32 cm (18.9 × 23.6 × 12.6 in). Dimensions include wooden base (the base of the sculpture is white, not green as in the photograph).
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: 18.9 in (48 cm)Width: 23.63 in (60 cm)Depth: 12.6 in (32 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Paris, FR
- Reference Number:1stDibs: LU803115003442
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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