Imature 2018 Sculpture by German Artist

A Copola betwen Nature and contemporary sculptering. Marble Connection, spraypainted in Neon. Info about Markus Born 1964 in Aschaffenburg, Germany Since 1986 active as a visual...

Bavarian/austrian "Brettlstuhl" circa 1900, contemporized by painting, re-modeling, adjustments added. Re-create the future. I learn out of a past that has been created for me, a foundation to build on my own work And create new pathes of art, design and everything that comes with it. Like my hereos Braque and Duchamp invented an artform out of existing things, I build my works out and with existing useable pieces like furniture parts...

Classic 40s kitchen chair contemporized. Colored, painted. lacquered. Great example of re-use and beeing politicly correct with waste. I learn out of a past that has been created fo...

This typical 50's kitchen chair, very stabil, has been cutted, abroad and painted. It's original shape is still there, but it has a contemporary surface now. Conversation piece and a...

Classic mid-century chair, re-shaped, painted and multi-lacquered. A typical early work by Markus Friedrich Staab and a perfect functional art work. Through my work I transform each...

This 1940's Rattan chair has been creativly revisited by Staab by adding strong colors and vintage wood bases to give the piece its contemporary feeling. Through my work I transform...

Handmade plaster figure with bronze patina by the German artist TADÄUS from the series formless body shapes from 2002. The sculpture is a very decorative one-off piece that invites y...

Plaster Unique piece Signed, stamped and numbered EAI.

Andreas Brüggemann (b. 1983), German contemporary upcycling artist. Colossal steel sculpture. "Space fragment". Dated 2021. Measures: 61 x 16 cm. In excellent condition. Signed ...

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...

A porcelain sculpture by Wayne Fischer. Perfect original conditions. Signed. Unique piece. 2018. How can an inert object produce deeply unsuspecting, indecipherable, uncontrol...

An exceptionnal porcelain sculpture by Mart Schrijvers. Unique piece. Artist monogram under the base. 2018. This piece was exhibited at the Hotel de Crillon, Place de la Concorde...