VAL 1025, 2025
Sculpture : wood · 47 x 31 x 17 cm 18.5 x 12.2 x 6.7 inch
€2,300
2 300 €
Shipping & delivery
Shipped from: France
Delivery to: Germany Free delivery
Estimated delivery: Two to three weeks
Free returns within 14 days, full refund
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Invoice from the gallery Learn more
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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 gallery
Signature
Hand-signed by artist
Technique & Support
wood , without pedestal
Dimensions ( cm • inch )
47 x 31 x 17 cm 18.5 x 12.2 x 6.7 inch Height x Width x Depth
Sold by
Art gallery
Credentials
Vetted seller since 2026
Description
The woodworking expresses itself here as a dialogue between the hand and the material. The artist uses pieces salvaged from the Rhuys peninsula.
He intervenes on the green wood, still saturated with sap, by making precise incisions in it. This initial gesture initiates a long organic process. The wood naturally deforms over time. Undulations appear, sculpting the void and the full.
The approach favors unpredictability. The final shape depends on the chosen essence, the internal structure of the trunk, and the cutting season. The artist accompanies this mutation without seeking to direct it.
This piece is composed of several vertical segments aligned. The horizontal grooves emphasize the natural rhythm of the fibers. The dark and matte tone accentuates the depth of the reliefs. The surface presents cracks and irregularities that testify to the withdrawal of water. The whole rests on a neutral base, highlighting the raw verticality of the material.
Presentation
Yves Tilly creates rhythms between the empty and the full through these notches in the still green wood. Over time, the wood becomes deformed, undulations appear.
"I don't try to guide them, I let them reveal themselves."
Each piece of wood was recovered from the Rhuys peninsula. Yves Tilly cuts the still green wood before the loss of its water, its sap, transforms it. The artist is the witness of this transformation and if there is beauty in the final form, it is indeed due to the decline of the tree. Depending on the wood species, the way the entrails are made and the cutting season, the result differs, remaining essentially random.
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