Garden Rose Free Standing Sculpture by Elis Monsport

Sculpture Bloomen 14 by Zanellazine Ceramics Dimensions: W 26 x D 23 x H 43 cm Materials: Red and white clay, Green semi-refractorie clay. About: Giovanna Zighetti, ceramist and se...

Wild Rose Reel II Sculpture by Zsolt József Simon Dimensions: W 34 x D 34 x H 27 cm Materials: Porcelain. Zsolt József Simon is a porcelain designe...

Sculpture Bloomen 13 by Zanellazine Ceramics Dimensions: W 14 x H 42 cm Materials: Red clay. About: Giovanna Zighetti, ceramist and set designer, and Lucia Zamberletti, fashion cons...

Offering II Sculpture by Dora Stanczel One of a Kind. Dimensions: D 15 x W 50 x H 37 cm. Materials: Porcelain, metal, support tufa and gold. I create bespoke and luxurious porcelain...

“From Tree Bark To Sculpture”, a collection of hand-crafted contemporary sculptures, based on original bark forms handpicked for their sculptural features, a...

A porcelain sculpture by Wayne Fischer. Perfect original conditions. Signed. Unique piece. 2022. How can an inert object produce deeply unsuspecting, indecipherable, uncontrollable emotions? Wayne Fischer is an artist who can create works that force one to ask such moving questions as this. If he doesn’t know why, if he can’t explain the deepest reasons of his artistic research, he definitely knows the workings and limitations of the artistic process he invented. He has never deviated from the course he set for himself since university; translate life. The works presented here show the evolution of his creations over the past thirty years. If Wayne Fischer has received several international prizes and quickly obtained the recognition of his peers in ceramics, nevertheless he retains a singular position at once unavoidable and disturbing. His sculptures are paradoxical, powerful and sensual, and cause a certain unease. They are beautiful, carnal, touchable, all the while being outside the standard idea of beauty. The ambiguity of attraction and rejection is at the heart of this evolution. The pieces from the 1980s and 90s are imposing by their size, stature and symmetry, which give them balance. They generate surprise, curiosity and play between contrasts that are both soft and aggressive. They reference the body, muscles, and torso, without presenting an exact reality. They are double-faced, seductive, and enigmatic. Wayne’s shapes are inspired by shells, bivalves, sometimes presented as though they are floating in space. But the reference of the marine world to the mysterious female body has only one interpretation and only history and emotion condition the reaction of the spectator: he accepts or refuses to see, to be seduced. He is touched or he flees. The more recent sculptures are appreciated in the fullness of their round volume and the search for a pure universal beauty. “Metamorphosis,” the work recently awarded by the Bettencourt Foundation, is from this series of pieces wheel- thrown and deformed which pushes the porcelain from the inside so the bulges evoke the movement of waves or the musculature of several bodies. The exactness, the clean breaks, the assurance of lines and valleys are testimony to the interior power that governs the creation. The life energy expressed is also felt by the artist as the origin of ceramics. All the pieces are curved and tense. They show no marking, no sign of the hand, no imprints, and yet give an impression of spontaneity, as if a dropped piece of clay found its form by chance. Depending on the angles, the content becomes “the origins of the world...

Resting on a square PVC base, five ceramic elements connect and converse in an extraordinary game of shapes, lights, and shadows. Named after the Italian words for "Time suspended", ...

Steel organic sculpture with pedestal base in the style of Philippe Buil.