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Flux-in (Bas Relief),
2020
Sezny Peron
Sculpture : wood, slate
50 x 40 x 4 cm 19.7 x 15.7 x 1.6 inch
$1,965
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About the artwork
Type
Unique work
Signature
Hand-signed by artist
Authenticity
Sold with certificate of Authenticity from the gallery
Invoice from the gallery
Medium
Dimensions cm • inch
50 x 40 x 4 cm 19.7 x 15.7 x 1.6 inch Height x Width x Depth
Display
The sculpture cannot be displayed outdoors
Tags
Artwork sold in perfect condition
Artwork location: France
His black plates of immensity.
Black is his inhabited territory, and even the lights that strike the slate, his living matter, are opaque. "To start from the black, to go out of the hole, and to hit in the matter". Sezny Peron infinitely disturbs the rigorous framework of an initial primitive form. He used to work, in direct size, the wood that his father, a cabinetmaker, used to sculpt. Statuettes in the round. Then the abstraction approached. One could guess the distant influences of a Marfaing or a Soulages. And the slate came, born from old quarries of the Black Mountains of Brittany... "Some slates lived, and come from men's roofs, after contact with the wind, the rain and the frost". Matter and human memory are embraced in these works cut with a scalpel. Art of momentum, lines, and openness, with linear structures that are sometimes implacable, sometimes fragile, "that waver and vibrate". Sezny Peron starts from an apparently simple, or rather simplified, initial structure and then subtly disrupts it, without ever upsetting it. Chaos is not his strong point, and with him, the creation says and respects the enigma of creation...
In this timeless and silent work, "stones that defy time" emerge. We see scars of universes, rich in flows, breaths and currents, and absorbing mirrors, or even blind, of intimate humanity. Sezny Peron creates pure and dark waves of expanses marked by sensual folds, even sexual slits. The split space expresses itself in faulty millennia which would search the infinite power of darkness. Lyricism however retained, and always modest, sometimes nicely hermetic. Stony and secret sensitivity, crossed by holes.
The plastic vocabulary of Sezny Peron is astonishing of sobriety, of formal decantation, and of mental stripping. Fulgurante austerity. Language of nudity.
Cosmic mandalas.
Each work is a tracking of immensity. An enclosure of obscure and primal forces. A vice of formidable energies connected between them by bridges of hard matter with chiseled and finely defined forms. Cosmic mandalas.
Each work is a tremor of extent. With swathes of space in tilt which answer each other in the manner of a primordial sound which would have no end and whose vibrations would cross the whole universe. Each work thus gives the appearance of a fabulous stopped movement.
This painting-sculpture (or if one wants this sculpture-painting, so much the expected distances, here, are reduced) seems to be born from a prodigious burial of soul, and in the same contradictory time, one believes to perceive the release of exorcised interior tensions. Ambiguous and ambivalent register: an outside-in movement imposes itself, with carnal connotations at the same time evident and distanced.
It is necessary to return on the absolute presence of the black of slate at Sezny Peron. Black lights take the world by the inside, internalize all things, and all sensibility. Would be the hidden source of all the origins. The night always restarted. Obscure and vertical signs create another space where all the unsaid of our secret lives unfold. Sezny Peron makes the void and the non-light breathe royally. There is no shadow in this haunting mineral purity. Unheard of chromatic deprivation.
Immaculate art.
Christian Noorbergen.
Read more
Black is his inhabited territory, and even the lights that strike the slate, his living matter, are opaque. "To start from the black, to go out of the hole, and to hit in the matter". Sezny Peron infinitely disturbs the rigorous framework of an initial primitive form. He used to work, in direct size, the wood that his father, a cabinetmaker, used to sculpt. Statuettes in the round. Then the abstraction approached. One could guess the distant influences of a Marfaing or a Soulages. And the slate came, born from old quarries of the Black Mountains of Brittany... "Some slates lived, and come from men's roofs, after contact with the wind, the rain and the frost". Matter and human memory are embraced in these works cut with a scalpel. Art of momentum, lines, and openness, with linear structures that are sometimes implacable, sometimes fragile, "that waver and vibrate". Sezny Peron starts from an apparently simple, or rather simplified, initial structure and then subtly disrupts it, without ever upsetting it. Chaos is not his strong point, and with him, the creation says and respects the enigma of creation...
In this timeless and silent work, "stones that defy time" emerge. We see scars of universes, rich in flows, breaths and currents, and absorbing mirrors, or even blind, of intimate humanity. Sezny Peron creates pure and dark waves of expanses marked by sensual folds, even sexual slits. The split space expresses itself in faulty millennia which would search the infinite power of darkness. Lyricism however retained, and always modest, sometimes nicely hermetic. Stony and secret sensitivity, crossed by holes.
The plastic vocabulary of Sezny Peron is astonishing of sobriety, of formal decantation, and of mental stripping. Fulgurante austerity. Language of nudity.
Cosmic mandalas.
Each work is a tracking of immensity. An enclosure of obscure and primal forces. A vice of formidable energies connected between them by bridges of hard matter with chiseled and finely defined forms. Cosmic mandalas.
Each work is a tremor of extent. With swathes of space in tilt which answer each other in the manner of a primordial sound which would have no end and whose vibrations would cross the whole universe. Each work thus gives the appearance of a fabulous stopped movement.
This painting-sculpture (or if one wants this sculpture-painting, so much the expected distances, here, are reduced) seems to be born from a prodigious burial of soul, and in the same contradictory time, one believes to perceive the release of exorcised interior tensions. Ambiguous and ambivalent register: an outside-in movement imposes itself, with carnal connotations at the same time evident and distanced.
It is necessary to return on the absolute presence of the black of slate at Sezny Peron. Black lights take the world by the inside, internalize all things, and all sensibility. Would be the hidden source of all the origins. The night always restarted. Obscure and vertical signs create another space where all the unsaid of our secret lives unfold. Sezny Peron makes the void and the non-light breathe royally. There is no shadow in this haunting mineral purity. Unheard of chromatic deprivation.
Immaculate art.
Christian Noorbergen.
About the seller
Galerie Jean-Louis Cléret • France
Artsper seller since 2015
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Presentation
Sezny Peron is a self-taught French artist who lives and works in Chavenay, near Paris.
Sezny Peron uses slate as his key medium, which he cuts, carves, pierces, assembles and superimposes by placing them in a sober black environment, as their setting. He starts by drawing, then he prepares the wooden frames, often squared and then integrates the slate, highlighting the infinite shades of gray, black and blue
His works are the result of an assembly of strips of schist rock, which shows the terrestrial strength of the land, to obtain this rock. They are like rhythms, sudden appearances in the frame, which restrict the look, combined with dark mineral black, they are like a transfer of organic forces.
Read more
Sezny Peron uses slate as his key medium, which he cuts, carves, pierces, assembles and superimposes by placing them in a sober black environment, as their setting. He starts by drawing, then he prepares the wooden frames, often squared and then integrates the slate, highlighting the infinite shades of gray, black and blue
His works are the result of an assembly of strips of schist rock, which shows the terrestrial strength of the land, to obtain this rock. They are like rhythms, sudden appearances in the frame, which restrict the look, combined with dark mineral black, they are like a transfer of organic forces.
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