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Ceramics For Sale
Creator: Wayne Fischer
Creator: Anne Barrès
Wall Sculpture Entitled «Tressage Tubulaire» in Grey, Brown and Black Stoneware
By Anne Barrès
Located in Saint-Ouen, FR
Wall sculpture entitled « Tressage tubulaire » in grey, brown and black stoneware by Anne Barrès.
Circa 1970-1980. Unique piece.
H : 22.04’ x 22.9’ x 1.6’ inches.
Approximate dim...
Category
1970s French Beaux Arts Vintage Ceramics
Materials
Ceramic, Rope
Wall Sculpture Entitled «Tressage» in Brown Stoneware and Rope, Anne Barrès
By Anne Barrès
Located in Saint-Ouen, FR
Wall sculpture entitled « Tressage » brown glazed stoneware and rope by Anne Barrès.
circa 1970-1980.
Unique piece.
H : 31.5’ x 19.7’ x 2.7’ inches.
Approximate dimensions.
Category
20th Century French Beaux Arts Ceramics
Materials
Ceramic
Glazed Stoneware Sculpture Entitled « La Cible », Anne Barrès, 1971
By Anne Barrès
Located in Saint-Ouen, FR
Glazed stoneware sculpture entitled « La Cible » by Anne Barrès.
Artist signature under the base « Barrès ».
1971.
Unique piece.
H : 4.7’ x 18.5’ x 18.11 inches.
Category
20th Century French Beaux Arts Ceramics
Materials
Ceramic
Wall Sculpture in Glazed Stoneware Entitled « Le Crapeau », Anne Barrès, 1977
By Anne Barrès
Located in Saint-Ouen, FR
Wall sculpture in glazed stoneware entitled « Le Crapeau » by Anne Barrès.
Artist signature on the back « Anne Barrès ». 1977. Unique piece.
Can be displayed both indoors and outd...
Category
20th Century Beaux Arts Ceramics
Materials
Ceramic, Rope
Large Glazed Stoneware Screen Composed of 84 Modular Elements, Anne Barrès, 2010
By Anne Barrès
Located in Saint-Ouen, FR
Large glazed stoneware screen composed of 84 modular elements by Anne Barrès.
2010.
Unique piece.
Can be displayed both indoors and outdoors.
H : 95.5’ x 93.7’ inches (claustr...
Category
21st Century and Contemporary Beaux Arts Ceramics
Materials
Metal
Large Wall Sculpture Entitled « Grande Voile » in Grey Clay and Rebar, 1970-1980
By Anne Barrès
Located in Saint-Ouen, FR
Large wall sculpture entitled « Grande voile » in grey clay and rebar by Anne Barrès.
Circa 1970-1980.
Unique piece.
H : 19.7’ x 59.4’ x 4.1’ inches.
Category
1970s Beaux Arts Vintage Ceramics
Materials
Metal
Wall Sculpture Entitled «Tressage» in Porcelain, Stoneware and Rope, Anne Barrès
By Anne Barrès
Located in Saint-Ouen, FR
Wall sculpture entitled « Tressage » in porcelain, stoneware and rope by Anne Barrès.
circa 1980-1990.
Unique piece.
H : 31.5’ x 31.9’ x 3.9’ inches.
Approximate dimensions.
Category
20th Century French Beaux Arts Ceramics
Materials
Ceramic
Wall Sculpture Entitled «Tressage» in Porcelain, Stoneware and Rope, Anne Barrès
By Anne Barrès
Located in Saint-Ouen, FR
Wall sculpture entitled « Tressage » in porcelain, stoneware and rope by Anne Barrès.
Circa 1970-1980.
Unique piece.
H : 36.6’ x 20.0’ x 2.7’ inches.
Approximate dimensions.
Category
21st Century and Contemporary French Beaux Arts Ceramics
Materials
Ceramic
Important Glazed Stoneware Sculpture Entitled « Flétrie », Anne Barrès, 2010
By Anne Barrès
Located in Saint-Ouen, FR
Important glazed stoneware sculpture entitled « Flétrie » by Anne Barrès.
circa 2010. Unique piece.
Can be displayed both indoors and outdoors.
H : 32.7’ x 33.8’ x 28.7’ inches...
Category
21st Century and Contemporary French Beaux Arts Ceramics
Materials
Metal
Glazed Stoneware Wall Sculpture Entitled « Burka », Anne Barrès, circa 2000-2010
By Anne Barrès
Located in Saint-Ouen, FR
Glazed stoneware wall sculpture entitled « Burka » by Anne Barrès.
Artist signature on the back « Anne Barrès ».
circa 2000-2010. Unique piece. Can be displayed both indoors and o...
Category
21st Century and Contemporary French Beaux Arts Ceramics
Materials
Ceramic
Important Glazed Stoneware Sculpture Entitled «Flétrie», Anne Barrès, circa 2010
By Anne Barrès
Located in Saint-Ouen, FR
Important glazed stoneware sculpture entitled « Flétrie »by Anne Barrès. Circa 2010. Unique piece.
Can be displayed both indoors and outdoors.
H : 17.7’ x 19.7’ x 19.7’ inches (c...
Category
21st Century and Contemporary French Beaux Arts Ceramics
Materials
Metal
Important Glazed Stoneware Sculpture Entitled «Flétrie», Anne Barrès, circa 2010
By Anne Barrès
Located in Saint-Ouen, FR
Important glazed stoneware sculpture entitled « Flétrie » by Anne Barrès.
circa 2010. Unique piece.
Can be displayed both indoors and outdoors.
H : 33.5’ x 22.8’ x 22.8’ inches...
Category
21st Century and Contemporary French Beaux Arts Ceramics
Materials
Metal
Stoneware and Steel Screen, Anne Barrès, circa 2000
By Anne Barrès
Located in Saint-Ouen, FR
Stoneware and steel screen by Anne Barrès.
circa 2000. Unique piece. Can be displayed both indoors and outdoors.
H : 31.9’ x 32.3’ x 2.9’ inches (ceramic only).
H : 37.40’ x 34.6...
Category
21st Century and Contemporary French Beaux Arts Ceramics
Materials
Metal
Large Glazed Stoneware Screen with Four Leaves, Anne Barrès, circa 2000-2010
By Anne Barrès
Located in Saint-Ouen, FR
Large glazed stoneware screen with four leaves by Anne Barrès.
Artist signature under the base. Circa 2000-2010. Unique piece.
Can be displayed both indoors or outdoors.
H : 75.2...
Category
21st Century and Contemporary Beaux Arts Ceramics
Materials
Metal
Large Porcelain Biscuit Screen with Four Adjustable Leaves, Anne Barrès, 2010
By Anne Barrès
Located in Saint-Ouen, FR
Large porcelain biscuit screen with four adjustable leaves by Anne Barrès.
Artist signature on the back. circa 2010. Unique piece. Patinated metal structure. H : 76.6’ x 24.8’ x 3.5...
Category
21st Century and Contemporary French Beaux Arts Ceramics
Materials
Metal
Glazed Stoneware Sculpture Entitled «L’éffondrée Bleue», Anne Barrès, circa 2010
By Anne Barrès
Located in Saint-Ouen, FR
Glazed stoneware sculpture entitled « L’éffondrée bleue » by Anne Barrès.
circa 2010. Unique piece.
H : 22.4’ x 25.6’ x 27.5’ inches.
Approximates dimensions.
Category
21st Century and Contemporary French Beaux Arts Ceramics
Materials
Ceramic
Porcelain Sculpture by Wayne Fischer, 2007
Located in Saint-Ouen, FR
A porcelain sculpture by Wayne Fischer.
Perfect original conditions.
Signed.
Unique piece.
2007.
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”. Femininity and sensuality are exalted. Inspired by the body, before and after birth, or simply the sea, the parts of the sculpture conjugate around a mysterious interior cavity, secret and troubling. The interior wall doesn’t correspond to the exterior, and has its own volumes, deformities, and intimacy. The pieces present two kinds of interior: one open, and partially uncovered, the other totally hidden inside. The differences of their respective deformation reinforce the impression of life : the subjective representation of muscles and bones, of bulges pushed by an interior force, like a visceral movement of respiration. The surface of the ceramic is crackled but soft and fine, even reflecting light like the skin. The nuances of color reinforce the expression of sensuality.
The alignment of technique and what it causes one to see and feel has rarely been so intimately successful.
Wayne Fischer perfected his technique in the 1970s and has remained faithful to it. He adds fibers to porcelain clay that has been chosen for its whiteness to create and accentuate volume around empty space, by assembling slabs or thrown pieces. Then, he makes another piece that takes its place inside; both parts are formed with no hand...
Category
21st Century and Contemporary French Beaux Arts Ceramics
Materials
Ceramic
A porcelain sculpture by Wayne Fischer, 2022
Located in Saint-Ouen, FR
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”. Femininity and sensuality are exalted. Inspired by the body, before and after birth, or simply the sea, the parts of the sculpture conjugate around a mysterious interior cavity, secret and troubling. The interior wall doesn’t correspond to the exterior, and has its own volumes, deformities, and intimacy. The pieces present two kinds of interior: one open, and partially uncovered, the other totally hidden inside. The differences of their respective deformation reinforce the impression of life : the subjective representation of muscles and bones, of bulges pushed by an interior force, like a visceral movement of respiration. The surface of the ceramic is crackled but soft and fine, even reflecting light like the skin. The nuances of color reinforce the expression of sensuality.
The alignment of technique and what it causes one to see and feel has rarely been so intimately successful.
Wayne Fischer perfected his technique in the 1970s and has remained faithful to it. He adds fibers to porcelain clay that has been chosen for its whiteness to create and accentuate volume around empty space, by assembling slabs or thrown pieces. Then, he makes another piece that takes its place inside; both parts are formed with no hand...
Category
21st Century and Contemporary French Beaux Arts Ceramics
Materials
Ceramic
Porcelain Sculpture by Wayne Fischer, 2022
Located in Saint-Ouen, FR
A porcelain sculpture by Wayne Fischer.
Perfect original conditions.
Signed.
Unique piece.
2022.
How can an inert object produce deeply unsuspecting, indecipherable, uncontrol...
Category
21st Century and Contemporary French Beaux Arts Ceramics
Materials
Ceramic
A porcelain sculpture by Wayne Fischer, 1989
Located in Saint-Ouen, FR
A porcelain sculpture by Wayne Fischer.
Perfect original conditions.
Signed.
Unique piece.
1989.
How can an inert object produce deeply unsuspecting, indecipherable, uncontrollable ...
Category
21st Century and Contemporary French Beaux Arts Ceramics
Materials
Ceramic
Porcelain Sculpture by Wayne Fischer, 2022
Located in Saint-Ouen, FR
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...
Category
21st Century and Contemporary French Beaux Arts Ceramics
Materials
Ceramic
Porcelain Sculpture by Wayne Fischer, 2022
Located in Saint-Ouen, FR
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...
Category
21st Century and Contemporary French Beaux Arts Ceramics
Materials
Ceramic
A porcelain sculpture by Wayne Fischer, 1997
Located in Saint-Ouen, FR
A porcelain sculpture by Wayne Fischer.
Perfect original conditions.
Signed.
Unique piece.
1997.
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...
Category
21st Century and Contemporary French Beaux Arts Ceramics
Materials
Ceramic
A porcelain sculpture by Wayne Fischer, 2015
Located in Saint-Ouen, FR
A porcelain sculpture by Wayne Fischer.
Perfect original conditions.
Signed.
Unique piece.
2015.
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...
Category
21st Century and Contemporary French Beaux Arts Ceramics
Materials
Ceramic
Porcelain Sculpture by Wayne Fischer, 2022
Located in Saint-Ouen, FR
A porcelain sculpture by Wayne Fischer.
Perfect original conditions.
Signed.
Unique piece.
2022.
How can an inert object produce deeply unsuspecting, indecipherable, uncontrol...
Category
21st Century and Contemporary French Beaux Arts Ceramics
Materials
Ceramic
Porcelain Sculpture by Wayne Fischer, 2022
Located in Saint-Ouen, FR
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”. Femininity and sensuality are exalted. Inspired by the body, before and after birth, or simply the sea, the parts of the sculpture conjugate around a mysterious interior cavity, secret and troubling. The interior wall doesn’t correspond to the exterior, and has its own volumes, deformities, and intimacy. The pieces present two kinds of interior: one open, and partially uncovered, the other totally hidden inside. The differences of their respective deformation reinforce the impression of life : the subjective representation of muscles and bones, of bulges pushed by an interior force, like a visceral movement of respiration. The surface of the ceramic is crackled but soft and fine, even reflecting light like the skin. The nuances of color reinforce the expression of sensuality.
The alignment of technique and what it causes one to see and feel has rarely been so intimately successful.
Wayne Fischer perfected his technique in the 1970s and has remained faithful to it. He adds fibers to porcelain clay that has been chosen for its whiteness to create and accentuate volume around empty space, by assembling slabs or thrown pieces. Then, he makes another piece that takes its place inside; both parts are formed with no hand...
Category
21st Century and Contemporary French Beaux Arts Ceramics
Materials
Ceramic
Porcelain Sculpture by Wayne Fischer, 2006
Located in Saint-Ouen, FR
A porcelain sculpture by Wayne Fischer.
Perfect original conditions.
Signed.
Unique piece.
2006.
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”. Femininity and sensuality are exalted. Inspired by the body, before and after birth, or simply the sea, the parts of the sculpture conjugate around a mysterious interior cavity, secret and troubling. The interior wall doesn’t correspond to the exterior, and has its own volumes, deformities, and intimacy. The pieces present two kinds of interior: one open, and partially uncovered, the other totally hidden inside. The differences of their respective deformation reinforce the impression of life : the subjective representation of muscles and bones, of bulges pushed by an interior force, like a visceral movement of respiration. The surface of the ceramic is crackled but soft and fine, even reflecting light like the skin. The nuances of color reinforce the expression of sensuality.
The alignment of technique and what it causes one to see and feel has rarely been so intimately successful.
Wayne Fischer perfected his technique in the 1970s and has remained faithful to it. He adds fibers to porcelain clay that has been chosen for its whiteness to create and accentuate volume around empty space, by assembling slabs or thrown pieces. Then, he makes another piece that takes its place inside; both parts are formed with no hand...
Category
21st Century and Contemporary French Beaux Arts Ceramics
Materials
Ceramic
Porcelain Sculpture by Wayne Fischer, 2022
Located in Saint-Ouen, FR
A porcelain sculpture by Wayne Fischer.
Perfect original conditions.
Signed.
Unique piece.
2022.
How can an inert object produce deeply unsuspecting, indecipherable, uncontrol...
Category
21st Century and Contemporary French Beaux Arts Ceramics
Materials
Ceramic
Porcelain Sculpture by Wayne Fischer, 2022
Located in Saint-Ouen, FR
A porcelain sculpture by Wayne Fischer.
Perfect original conditions.
Signed.
Unique piece.
2022.
How can an inert object produce deeply unsuspecting, indecipherable, uncontrol...
Category
21st Century and Contemporary French Beaux Arts Ceramics
Materials
Ceramic
Porcelain Sculpture by Wayne Fischer, 2022
Located in Saint-Ouen, FR
A porcelain sculpture by Wayne Fischer.
Perfect original conditions.
Signed.
Unique piece.
2022.
How can an inert object produce deeply unsuspecting, indecipherable, uncontrol...
Category
21st Century and Contemporary French Beaux Arts Ceramics
Materials
Ceramic
A porcelain sculpture by Wayne Fischer, 2022
Located in Saint-Ouen, FR
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...
Category
21st Century and Contemporary French Beaux Arts Ceramics
Materials
Ceramic
Porcelain Sculpture by Wayne Fischer, 2022
Located in Saint-Ouen, FR
A porcelain sculpture by Wayne Fischer.
Perfect original conditions.
Signed.
Unique piece.
2022.
How can an inert object produce deeply unsuspecting, indecipherable, uncontrol...
Category
21st Century and Contemporary French Beaux Arts Ceramics
Materials
Ceramic
Porcelain Sculpture by Wayne Fischer, 2022
Located in Saint-Ouen, FR
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...
Category
21st Century and Contemporary French Beaux Arts Ceramics
Materials
Ceramic
Porcelain Sculpture by Wayne Fischer, 2018
Located in Saint-Ouen, FR
A porcelain sculpture by Wayne Fischer.
Perfect original conditions.
Signed.
Unique piece.
2018.
How can an inert object produce deeply unsuspecting, indecipherable, uncontrol...
Category
21st Century and Contemporary French Beaux Arts Ceramics
Materials
Ceramic
Porcelain Sculpture by Wayne Fischer, 1989
Located in Saint-Ouen, FR
A porcelain sculpture by Wayne Fischer.
Perfect original conditions.
Signed.
Unique piece.
1989.
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...
Category
21st Century and Contemporary French Beaux Arts Ceramics
Materials
Ceramic
Porcelain Sculpture by Wayne Fischer, 2018
Located in Saint-Ouen, FR
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...
Category
21st Century and Contemporary French Beaux Arts Ceramics
Materials
Ceramic
A porcelain sculpture by Wayne Fischer, 2022
Located in Saint-Ouen, FR
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”. Femininity and sensuality are exalted. Inspired by the body, before and after birth, or simply the sea, the parts of the sculpture conjugate around a mysterious interior cavity, secret and troubling. The interior wall doesn’t correspond to the exterior, and has its own volumes, deformities, and intimacy. The pieces present two kinds of interior: one open, and partially uncovered, the other totally hidden inside. The differences of their respective deformation reinforce the impression of life : the subjective representation of muscles and bones, of bulges pushed by an interior force, like a visceral movement of respiration. The surface of the ceramic is crackled but soft and fine, even reflecting light like the skin. The nuances of color reinforce the expression of sensuality.
The alignment of technique and what it causes one to see and feel has rarely been so intimately successful.
Wayne Fischer perfected his technique in the 1970s and has remained faithful to it. He adds fibers to porcelain clay that has been chosen for its whiteness to create and accentuate volume around empty space, by assembling slabs or thrown pieces. Then, he makes another piece that takes its place inside; both parts are formed with no hand...
Category
21st Century and Contemporary French Beaux Arts Ceramics
Materials
Ceramic
Glazed Stoneware Capital, Anne Barrès, circa 2010
By Anne Barrès
Located in Saint-Ouen, FR
Glazed stoneware capital by Anne Barrès.
Artist signature on the back. Circa 2010.
This work of art is composed of two parts and can be displayed both indoors and outdoors.
H : 1...
Category
21st Century and Contemporary French Beaux Arts Ceramics
Materials
Ceramic
Glazed Stoneware Capital, Anne Barrès, circa 2010
By Anne Barrès
Located in Saint-Ouen, FR
Glazed stoneware capital by Anne Barrès.
Artist signature on the back. Circa 2010.
This work of art is composed of two parts and can be displayed both indoors and outdoors.
H : 1...
Category
21st Century and Contemporary French Beaux Arts Ceramics
Materials
Ceramic
Glazed Stoneware Capital, Anne Barrès, circa 2010
By Anne Barrès
Located in Saint-Ouen, FR
Glazed stoneware capital by Anne Barrès.
Artist signature on the back. circa 2010.
This work of art is composed of two parts and can be displayed both indoors and outdoors.
H : 1...
Category
21st Century and Contemporary French Beaux Arts Ceramics
Materials
Ceramic
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