Line of flight,
2023
Thomas Lévy
Sculpture : terracotta, Patina
29 x 40 x 25 cm 11.4 x 15.7 x 9.8 inch
Sold
Free returns within 14 days
Authenticity guaranteed
Learn moreSecure payment
Paypal
American Express
Visa
Mastercard
Apple Pay
Google Pay
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
29 x 40 x 25 cm 11.4 x 15.7 x 9.8 inch Height x Width x Depth
Display
The sculpture cannot be displayed outdoors
Artwork sold in perfect condition
Artwork location: France
Years ago, when starting a new sculpture, I would typically draw inspiration from my own paintings. Now, I simply set out on an adventure with my forty pounds of clay, a few tools, a turntable, and a theme. I feel at home working in three dimensions, for they afford me complete freedom.
The initial stage is necessarily unstable and uncertain, though, which means I must give it time.
I always work standing up. I walk around the sculpture, I spin the turntable, and just as when painting, I take a few steps back. I must understand how the light plays with the form; I must also feel confident in the various shadows as they appear.
The rhythm and the layering of volumes are also essential. This, to me, is a particularly delicate and fascinating part of the process, for it requires that I see the piece as a whole – from various heights, from every possible angle. It is a research process; it can be dizzying at times, and leaves me prone to doubt. After all, what if, this time, I don’t find anything?
I take pictures and videos of my work as it progresses, that I may look at it when not in the studio. It allows me to prepare for the next day.
And then, one day, the feeling of doubt disappears. I have found what I was looking for. The piece hangs together, the first stage is over.
I can now sit down and begin consolidating. I am satisfied with the volume. Some elements are still missing, some are redundant; a few shapes need reinforcing.
Then come the finishing. Unlike the early stages, so full of twists and turns and riddled with doubt, this penultimate stage of the creative process – before the firing – feels almost meditative. I devote so much attention to the piece, it feels like I am adopting it.
The sculpture must now be left to dry. It takes time. Very gradually, almost imperceptibly, the color changes. I no longer have any control. The result simply presents itself.
And once the firing is done, with some trepidation, I open the kiln: did the piece withstand the heat? A single air bubble can do so much damage.
To my relief, the piece is intact and whole. But it is dried out and needs reviving. This is done by sanding – a key step to recovering the initial intent. For this I make sure to work in the open air.
I can now work on the patina and recover the original reflections. The light can once again play upon the sculpture.
The piece is finished. That is, unless I decide it needs a sibling… made of bronze.
Read more
The initial stage is necessarily unstable and uncertain, though, which means I must give it time.
I always work standing up. I walk around the sculpture, I spin the turntable, and just as when painting, I take a few steps back. I must understand how the light plays with the form; I must also feel confident in the various shadows as they appear.
The rhythm and the layering of volumes are also essential. This, to me, is a particularly delicate and fascinating part of the process, for it requires that I see the piece as a whole – from various heights, from every possible angle. It is a research process; it can be dizzying at times, and leaves me prone to doubt. After all, what if, this time, I don’t find anything?
I take pictures and videos of my work as it progresses, that I may look at it when not in the studio. It allows me to prepare for the next day.
And then, one day, the feeling of doubt disappears. I have found what I was looking for. The piece hangs together, the first stage is over.
I can now sit down and begin consolidating. I am satisfied with the volume. Some elements are still missing, some are redundant; a few shapes need reinforcing.
Then come the finishing. Unlike the early stages, so full of twists and turns and riddled with doubt, this penultimate stage of the creative process – before the firing – feels almost meditative. I devote so much attention to the piece, it feels like I am adopting it.
The sculpture must now be left to dry. It takes time. Very gradually, almost imperceptibly, the color changes. I no longer have any control. The result simply presents itself.
And once the firing is done, with some trepidation, I open the kiln: did the piece withstand the heat? A single air bubble can do so much damage.
To my relief, the piece is intact and whole. But it is dried out and needs reviving. This is done by sanding – a key step to recovering the initial intent. For this I make sure to work in the open air.
I can now work on the patina and recover the original reflections. The light can once again play upon the sculpture.
The piece is finished. That is, unless I decide it needs a sibling… made of bronze.
About the seller
Professional art gallery • France
Artsper seller since 2021
Vetted Seller
This seller rewards your purchases of multiple artworks
Discover more by the artist
Animal imaginaire I
Thomas Lévy
Sculpture - 28.5 x 42 x 25 cm Sculpture - 11.2 x 16.5 x 9.8 inch
€5,000
Presentation
Thomas Lévy has been practicing the plastic arts since he was very young. Using great freedom in the techniques used and the subjects addressed, he structures all of his work around the fleetingness of moments in life. These snapshots build his creative universe.
At 20, when he already mastered free drawing, he studied at the Beaux-Arts de la Ville de Paris in Montparnasse. There are five years left. This is where he perfected his work on the color and structure of his compositions. There he practiced academic drawing and then painting from a live model. The transition from charcoal to acrylic, from the antiques of the Louvre to the imperfect bodies of the models in the workshop allow him to develop his own codes. He acquires a personal palette and a graphic identity that he continues to enrich.
After acrylic, he seizes, in his Parisian studio, oil painting. This new medium allows him to deepen his treatment of color and transparencies. Little by little, he alternates the figurative and the abstract. It is marked by masters discovered over the years such as Bram van Velde, Joan Mitchel or photographer Rudy Burckhardt. He still draws inspiration from his extensive travels throughout Europe and New York. He approaches digital drawing at the beginning of the century. The medium used is initially "primitive", the pixelated line and the primary colors. He is playing it.
This new tool allows him to practice his passion during his travels and to be inspired by his environment. He finds there a new form of expression which completes his tools without ever supplanting oil, his reference. Thomas Lévy has always had the ambition to put sculpture at the service of his creativity. This is what he does today in the Beaux Arts workshops of the City of Paris and in his Paris studio. We find there the tension of the curves, the naturalness of the forms, of the volumes which seem to respond to each other.
The graphic design of his paintings finds a new dimension in his sculptures. The monochrome of the object gives way to the play of volumes and shadows, a logical translation of its universe. Coming to sculpture is for Thomas Lévy a new stage in his artistic career, like a journey that began almost forty years ago. It's a question of maturity, of letting go too. All of this no doubt explains why Thomas Lévy approaches sculpture as obvious today. He is now represented by the 1831 Art Gallery.
Need help?
Where can I be delivered?
Artsper delivers internationally. The list of countries is available in the first step of your cart.
If your country is not listed contact us at [email protected] and we will see what we can do.
Note that Customs fees may apply for works shipped internationally. This is indicated in the first step of the shopping cart.
You can choose a delivery address different from the billing address. Make sure that a trusted person is present to receive the work if you cannot be there.
How do I showcase my work?
Have you purchased a painting, sculpture or work on paper?
Find our expert advice for the conservation and promotion of your works in the articles below:
Why choose Artsper for your art purchases
Artsper offers you access to more than 200,000 works of contemporary art from 2,000 partner galleries. Our team of experts carefully selects galleries to guarantee the quality and originality of the works.
You benefit from:
-
Works at gallery price
-
Return within 14 days, regardless of your location
-
Easy resale of the work purchased on Artsper
-
Personalized research tools (selection and tailor-made universe)
Our customer service is available for any assistance.
Protect your purchase with Artsper: Buy with confidence
At Artsper, our mission is to allow you to collect works of art with complete peace of mind. Discover the protections we offer at every stage of your shopping experience.
Buy works from top galleries
We work in close collaboration with carefully selected art galleries. Each seller on Artsper is carefully examined and approved by our team, thus ensuring compliance with our code of ethics. You therefore have the assurance of purchasing authentic, high-quality works.
Total transparency: you know what you are buying
Before being posted online, all artwork on Artsper is reviewed and validated by our moderation team. You can browse with complete peace of mind, knowing that each piece meets our criteria of excellence.
Personalized support: our experts at your service
Our team of contemporary art experts is available by phone or email to answer all your questions. Whether you want advice on a work or a tailor-made selection to enrich your collection, we are here to support you.
Resell your works with ease
If you have purchased a work on Artsper and wish to resell it, we offer you a dedicated platform to relist it. To find out more, click here.
Make offers with Artsper: negotiate like in a gallery
You have the possibility to propose a price for certain works, just like in a gallery. This feature allows you to initiate discussions and potentially acquire your coins at advantageous prices.
Get help with your negotiations
Our team will negotiate for you and inform you as soon as the best offer is obtained. Do not hesitate to call on our expertise to ensure a transaction at the best price.
Order securely
Artsper satisfaction assurance
We want you to be completely satisfied with your purchase. If the work you receive is not to your liking, you have 14 days to return it free of charge, and you will be refunded in full, whatever the reason.
Secure payment with Artsper partners
All credit card payments are processed by Paybox, the world leader in payment solutions. Thanks to their strict security standards, you can transact with confidence.
Problem Support
In the rare event that an artwork arrives damaged or not as described, we are here to help. Whether for a return, refund, restoration or exchange, our team will support you throughout the process and will ensure that we find the solution best suited to your situation.
Conditions to benefit from Artsper protections:
-
Use one of the payment methods available on Artsper for your order.
-
Report any problems within one week of receiving the work.
-
Provide required photographic evidence (including original artwork and packaging).
Artsper guarantees cover the following cases:
-
The received work lacks a described characteristic (for example, a signature or frame).
-
The artwork has significant differences from its description (e.g. color variation).
-
The work is damaged upon receipt.
-
The work is lost or damaged by the carrier.
-
Delivery is significantly delayed.
With Artsper, you collect with complete peace of mind.