Anchorage,
2023
Thomas Lévy
Sculpture : terracotta, Patina
24 x 35 x 35 cm 9.4 x 13.8 x 13.8 inch
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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
24 x 35 x 35 cm 9.4 x 13.8 x 13.8 inch Height x Width x Depth
Display
The sculpture cannot be displayed outdoors
Artwork sold in perfect condition
Artwork location: France
In the early years, my sculptures were inspired by my paintings. Today for each new piece, I go "on an adventure" with my 20kg of earth, my tools, a harness and a theme. The three dimensions are essential and they bring me total freedom. This stage of conception, of a movement or of an assumed instability, I realize it over a long period of time. I always work standing up. I keep turning around my piece while pivoting the harness. As in painting, I need perspective. I want to understand how light plays with shapes and validate the shadows that are needed. The rhythm of the volumes and their superposition are essential. This is a delicate and fascinating point. It requires a global understanding of the room, from different heights and from all angles. It is a real research work, a little dizzying at the start. This is the stage of doubt.
What if I can't find it this time? I take photos and films to watch my work outside the studio and prepare for the next day. One day, the doubt disappears. The feeling of having found replaced it. The piece holds, the installation is complete. From there, I can sit down and begin the consolidation stage. The overall volume suits me. There are still some missing or redundant elements, shapes to reinforce. The finish finally arrives. Unlike creation, with its twists and doubts, this last chapter before cooking is almost meditative. It's as if I adopted the piece by dint of devoting my attention to it. The long drying period begins. The piece gradually changes color, it becomes imperceptibly thinner. I no longer have control over it and the result of the drying is obvious. Then it's time to cook. At the opening of the door, small pinch, did the room support it well?
An air bubble can do so much damage. The piece, unscathed, appears whole, but as if dry. I have to “revive” her. There is sanding. It is an essential work to find the initial intention. I sit outdoors. I can finally work on the patina. It is a question of finding the initial reflections. The light can flow again on the sculpture. The play is over…unless I decide to give him his bronze twin.
Read more
What if I can't find it this time? I take photos and films to watch my work outside the studio and prepare for the next day. One day, the doubt disappears. The feeling of having found replaced it. The piece holds, the installation is complete. From there, I can sit down and begin the consolidation stage. The overall volume suits me. There are still some missing or redundant elements, shapes to reinforce. The finish finally arrives. Unlike creation, with its twists and doubts, this last chapter before cooking is almost meditative. It's as if I adopted the piece by dint of devoting my attention to it. The long drying period begins. The piece gradually changes color, it becomes imperceptibly thinner. I no longer have control over it and the result of the drying is obvious. Then it's time to cook. At the opening of the door, small pinch, did the room support it well?
An air bubble can do so much damage. The piece, unscathed, appears whole, but as if dry. I have to “revive” her. There is sanding. It is an essential work to find the initial intention. I sit outdoors. I can finally work on the patina. It is a question of finding the initial reflections. The light can flow again on the sculpture. The play is over…unless I decide to give him his bronze twin.
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
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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.
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