Koichi Matsufuji Sculptures

Murano Glass. Edition of 28/30 ex. Free shipment worldwide. With just a few strokes of his brush he conjures up an entire world. James Coignard extends the boundaries between c...

In 2015, I made a series of sculptures called "HYPERland" illustrating the utopia promised by the "liberal democracy" and the dystopia that is rather created by the market and financ...

The Ladies’ Table is an installation by the contemporary French artist Cécile Raynal that brings together portraits of women from the artist’s entourage, friends or people she has in...

"CROSS" Sculptural Mirror 25" x 25" x 2" inch by Grigorii Gorkovenko MATERIAL: metal / mirror COLOR: nature metal A mirror surface fringed by a steel strip in the form of a cross l...

Sculpture made of resin, steel, string and acrylic paint. Original box included. Hand signed and numbered on canvas verso. Certificate of authenticity included. From the edition of ...

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...

A sculpture by Micaela Amato. “Moroccan Girl” is a contemporary sculpture, cast glass in browns and yellows by American female artist Micaela Amato. The ...

'We surround ourselves with elements from nature in the form of manicured lawns, sculpted trees, and our domesticated companions. We bend the natural world to our tastes and create a...

**NEW YEAR FINAL 90 DAYS SALE UNTIL MARCH 31ST** **STORE CLOSURE - UP TO 80% OFF - TAKE ADVANTAGE OF IT** **EVERYTHING MUST GO UNTIL APRIL1ST!** >>The artist ...

A sculpture by Micaela Amato. “Aljama” is a contemporary sculpture, cast leaded glass in browns, yellows, and greens by American female artist Micaela Amato. The artwork is unsigned....

In 2015, I made a series of sculptures called "HYPERland" illustrating the utopia promised by the "liberal democracy" and the dystopia that is rather created by the market and financ...

Murano Glass. Signed and numbered EA 2/3. Free shipment worldwide. With just a few strokes of his brush he conjures up an entire world. James Coignard extends the boundaries between concrete and abstract. He knows how to create chromatic melodies that shift in timbre from cobalt blue to blood red. His pictures are an artistic epicentre where lines, letters and numbers meld with vigorous swashes of colour.” That is how the writer Johan Persson has described the artist’s paintings. With this exhibition we honour James Coignard, showing some of his last carborundum engravings and paintings as well as presenting the book “L’œuvre gravé de James Coignard” volume VI. In this edition, we have gathered together all the engravings that James Coignard produced between June 2005 and his decease, on 7 March 2008. Behind him he left many fond memories and a life’s work as a great artist. James Coignard’s principal modes of expression were oil on canvas and gravure au carborundum, but also in bronze and glass sculptures as well as in ceramics. His work has been shown on more than 400 exhibitions, primarily in Central Europe and Scandinavia, but also in Canada and the USA. His first Swedish exhibition was at Malmö Museum in 1956. The early 1970s saw the start of a long-term liaison with Galleri Östermalm in Stockholm, owned by Editions Sonet. They came to represent him in Scandinavia and edited several volumes of his graphic works. It was not until 2003 that we at Galleri GKM Siwert Bergström...