Bronze Sculpture for Sale
Effets secondaires – Hypnotic Love (R2B1), 2018
Sculpture : resin · 58 x 41 x 35 cm 22.8 x 16.1 x 13.8 inch
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Shipped from: France
Delivery to: France Free delivery
Estimated delivery: One to two weeks
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Verified Reviews : 9.6/10
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About the artwork
Type
Sculpture : numbered and limited to 130 copies
Condition
Artwork sold in perfect condition
Authenticity
Sold with certificate of Authenticity from the artist
Invoice from the gallery
Signature
Artwork signed in the mold
Technique & Support
resin
Dimensions ( cm • inch )
58 x 41 x 35 cm 22.8 x 16.1 x 13.8 inch Height x Width x Depth
Sold by
Art gallery
Credentials
Vetted seller since 2013 • Top Seller
Discount
This seller offers discount when you purchase multiple artworks.
Description
Side effects - Hypnotic Love (R2B1) Side effects, the new edition of the LOFT Gallery in collaboration with Philippe Huart, ten years after his first production of porcelain capsules, is printed in 130 copies. It includes two models of capsules made of colored poly-resin and assembled in trio. The first model (R3) - numbered 1/130 to 65/130 - consists of three red and white capsules. The second (R2B1) - numbered 66/130 to 130/130 - is composed of two red and white capsules surrounding a white and blue capsule. In this “tricolor" version of the Secondary Effects series, Philippe Huart plays with the degrees of multiple perception of the work. The three capsules fit together or overlap, leaving the collector the possibility of participating in turn in the final shaping of the work. The white and red that are most frequently found in Philippe Huart's capsules are combined with a powerful and hypnotic blue, close to Yves Klein's blue. This third color renews the depth of the sculpture all the more as it creates a new dimension linked to the degree of visual perception of the human retina. ---- Side effects, the transmuted object. In front of us, three capsules meet and mate in an astonishing ballet. Smooth and silky skin, shimmering colors, curved shapes… this everyday object enlarged and then recomposed is projected into a new reality. In front of our eyes, the capsule becomes aesthetic and metamorphosed. The path she takes here is that of Philippe Huart, artist of perception and illusion. Both a recurring theme in his work and a unique experience of reflection around volume, these capsules become supports and pretexts. At the outset, they represent the medicine, a saving element, a remedy which ward off ailments, from the lightest to the most serious. This positive dimension is suggested by its white half, symbol of purity and cleanliness, which protects and reassures us. But like Janus, the capsule is double. It has another end, another face whose bright and sharp color offers a new perspective. From the red of love one can easily fall into that of violence and blood. From the blue of space initially evoking the sky, the sea and the serenity, we can capsize in a hypnotic blue which grabs us and isolates us. Fascinated by these colors, we are therefore ready to dive into the drifts and sink into the addictions they symbolize. Side effect ... the miracle turns into an obsession. We need more, always more, especially when we lose our footing and reality becomes distorted. The more beautiful the object, the more it attracts, the larger it is, the more it absorbs our gaze. Since Duchamp the mutation of the object is not uncommon in art. It is here multiple. The loss of its utilitarian value makes it now a cultural object. Its oversize, reminiscent of giant reproductions of everyday objects by Claes Oldenburg, shakes up our conception of space. As for the colors and the brilliance of its texture, we obviously think of pop artists and the subjugation of the object in an era of overconsumption. Beauty becomes a ground of dependence. Owning, improving, envying ... aesthetics gives us an extraordinary range of emotions and sensations, from the most fabulous to the least admirable. It is the support of an imagination without limits and of the "side effects" that it causes by the crystallization of the desires and hopes that it gives rise to. Thus decontextualized, the capsule is no longer the antidote. It is the ultimate sublimation of our contemporary addictions.
Presentation
Philippe Huart was born in 1953 in Clamart (France). He lives and works in Paris.
After studying at the Ecole Supérieure des Arts Modernes in Paris, he became an illustrator and graphic designer for literary and phonographic editions until 1991, when he decided to dedicate himself exclusively to painting. He took part in numerous solo or collective exhibitions, both in France and abroad.
Philippe Huart seeks to neutralize the effect that advertising, marketing and consumption have on our unconscious. His painting is based on the objective reality that there is nothing other than what we see. The pictorial perception has nothing to do with the objects at first, but with forms and rhythms. "It is what motivates me when I frame the closest possible my images reduced to fragments." The pictorial work is precise enough and explicit in a world where the image has become an essential vector for communication. These images are the ones that trigger Philippe Huart?s expression process.
The artist does not address the elements of daily life, he addresses its signs. These signs are accumulated in our environment, whether they are domestic or public, to the point of no longer being perceived. Their accumulation and their frequency make them common, but the juxtaposition and mix of their enlarged fragments show them to us as if they were new to us, although familiar.
Through painting and sculpture practice and the choice of his subjects, Philippe Huart shows us the relationship that we have with objects that we populate our universe with. His painting is not that of an artist who would take a neutral position; it expresses the thoughts of the author on our world and its culture, which are common in our daily lives.
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Reviews from our customers
All our reviews are extracted from Verified Reviews
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