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Ba nié ( la sardine dorée ),
2016
Stéphane Foucaud
Painting : acrylic, pencil
93.5 x 114.5 x 4 cm 36.8 x 45.1 x 1.6 inch
$2,401
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About the artwork
Type
Unique work
Signature
Hand-signed by artist
Authenticity
Sold with certificate of Authenticity from the artist
Invoice from the gallery
Dimensions cm • inch
93.5 x 114.5 x 4 cm 36.8 x 45.1 x 1.6 inch Height x Width x Depth
Support
Framing
Not framed
Artwork sold in perfect condition
Artwork location: New Caledonia
The work Ba nié (the golden sardine) is part of the series concerning the exhibition PAANG meaning "treasure" in the Kanak language of the east coast of the country. Discoveries narrated by the artist on the canvas loaded with myths that lead to the coveted objects of the South Pacific. Below is the story of the mixed-race Pirate who controlled part of the lagoon of New Caledonia:
If you are lucky enough to spot a golden sardine in the lagoon, follow it! says the legend. Being able to track it until sunset means being led to its lair: the head of the spear of the mixed-race pirate of Touho (on the east coast of New Caledonia). Beware! According to the locals, the sardine and the spear are protected by an enormous squid, which is none other than the spirit of Dodoni (which means "mixed-race" in the Cèmuhî* language). Dodoni was a pirate who dominated the eastern maritime network of Nova Scotia in the last century, with his trident loaded with "junuu-n" (magical force). Many fishermen are said to be searching for the famous sardine in order to reach the rebel's treasure. According to the elders, the new owner of the spear would immediately become the undisputed leader of all the sea clans in the region.
About the seller
Professional art gallery • New Caledonia
Artsper seller since 2022
Vetted Seller
Imagine it at home
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Presentation
Born in Paris in 1971 Foucaud Stéphane used to say that he was born for a second at a time in 1974, the date of his arrival on the Yam Island (New Caledonia). A land still to be demystified which nourishes his artistic work charged with myths and syncretisms. His experience in a tribal environment will serve as the imprint of a pictorial practice begun during his studies of plastic arts at the faculty of Strasbourg. Scarifications and cut-out, simplified forms will impose themselves on the canvas as if the omnipresence of sculptures, markers of Kanak lands were hidden there. His expressiveness, described as “neo-tribal" by his public, will naturally turn towards Oceania and its various cultures. The local melting pot will have given him the "signs" for a mixed and rhizophagous style, making the spontaneous gestures of his brushstroke cohabit with the finesse of the pen drawing.
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