La dragonne endormie, 2026
Sculpture : ceramic · 12 x 13 x 20 cm 4.7 x 5.1 x 7.9 inch
€250
250 €
Shipping & delivery
Shipped from: France
Delivery to: France , € 18
Estimated delivery: One to two weeks
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Verified Reviews : 9.6/10
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About the artwork
Type
Sculpture : Unique artwork
Condition
Artwork sold in perfect condition
Authenticity
Sold with certificate of Authenticity from the artist
Invoice from the artist
Signature
Hand-signed by artist
Technique & Support
ceramic , without pedestal
Dimensions ( cm • inch )
12 x 13 x 20 cm 4.7 x 5.1 x 7.9 inch Height x Width x Depth
Sold by
Independent artist
Credentials
Vetted seller since 2026
Description
Hybrid figure with undefined contours, this sculpture by Fanny Guéniot brings to light a creature situated between the animal, plant, and fantastic worlds. Modeled in earth tones of ochre, brown, and greenish, it unfolds around a compact body a profusion of appendages, curved shapes, and surfaces evoking scales, foliage, or limbs in turn.
The work of the enamel accentuates this impression of a living organism: blues and greens diffuse into earthy tones, while the sheen of the surface gives the piece an almost wet and carnal dimension. The claws, growths, and branched shapes introduce a tension between fragility and strangeness.
With Fanny Guéniot, the sculpture thus seems less to represent an identifiable animal than to bring forth a form in becoming, an ambiguous presence, at the border of the known and the imaginary. The material retains the traces of gesture and experimentation, revealing a creature that appears at once archaic, vulnerable, and deeply contemporary.
Presentation
Fanny Gueniot is a French visual artist who develops a practice crossing painting, drawing, and ceramics. Her pictorial and sculptural practice revolves around the figure, conceived not as a simple representation, but as a fragile apparition, in tension between presence and disappearance. Her works are constructed in a deliberately unstable balance between abstraction and figuration, leaving an essential place for the unfinished, for floating, and for the circulation of the gaze. Material occupies a central place in her work. She does not just seek to describe a form, but to bring it to emerge. The surfaces are constructed by successive strata, like deposits of memory where the gesture remains perceptible. This sensitive approach invites an experience of the gaze that is slow and attentive, where suggestion prevails over affirmation. The figures that appear in her works do not tell a story in the narrative sense. They present themselves as states, fragments, thresholds, leaving the viewer the freedom to build their own connections and interpretation.
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