Christmas Ornament, Mai-Thu Perret with Ligia Dias
Mai-Thu Perret
Design - 10.5 x 7.6 x 5.6 cm Design - 4.1 x 3 x 2.2 inch
€122
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Don’t Wear Your Shoes In The Melon Patch,
2022
Mai-Thu Perret
Sculpture : enamel, Porcelain
35 x 30 x 30 cm 13.8 x 11.8 x 11.8 inch
€10,000
One of the last works available by this artist
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About the artwork
Type
Numbered and limited to 12 copies
1 copy available
Signature
Engraved signature
Authenticity
Sold with certificate of Authenticity from the gallery
Invoice from the gallery
Medium
Dimensions cm • inch
35 x 30 x 30 cm 13.8 x 11.8 x 11.8 inch Height x Width x Depth
Display
The sculpture cannot be displayed outdoors
Artwork sold in perfect condition
Artwork location: France
Enameled porcelain.
Certificate of Authenticity signed by the artist, numbered and stamped by our publishing house.
2022, is Mai-Thu Perret's first porcelain object. It is modeled after a disposable plastic container for melon flavored ice cream the artist found in a Japanese supermarket.
Perret was fascinated by this cheap replica that mimics the form of a traditional Chinese lidded jar, and undertook to reproduce it in a much larger shape in the classic material of porcelain.
Reflecting on the impact of capitalism and over-consumption on traditional cultures, the artist has chosen to restore the noble aspect of this plastic commodity.
Discover more by the artist
Presentation
The sculptures, paintings, ceramic works, performances, and texts of Mai-Thu Perret (b. 1976, Geneva) exist at the intersection of contemporary culture, art historical critique, and visceral materiality. She explores (and generates) feminist narratives and counter-narratives that cast the role of the art object in new light, introducing utilitarian, symbolic, and even mystical possibilities in contexts that are often limited to formalist readings. In her encompassing vision, for instance, the development of modernism appears not only as a story about increasing abstraction, but as the outgrowth of biological and neurological patterns that have informed human expression throughout the globe for thousands of years. Perret's work shows how bodies are always implicit subjects of artistic discourse, and how impulses for utopian transcendence (aesthetic, political, or otherwise) can always be traced back to the physicality of desire.
Mai-Thu Perret has been the subject of solo exhibitions at Le Portique – centre régional d'art contemporain du Havre, France (2020), Badischer Kunstverein, Karlsruhe, Germany (2019); Spike Island, Bristol, England (2019); MAMCO Geneva (Musée d'art moderne et contemporain), Geneva (2019 and 2016); Nasher Sculpture Center, Dallas (2016); Le Magasin, Grenoble, France (2012); Haus Konstruktiv, Zurich (2011); University of Michigan Museum of Art, Ann Arbor (2010); San Francisco Museum of Modern Art (2008); and the Renaissance Society at the University of Chicago (2006). Recent group exhibitions include the High Line, New York (2021); Berkeley Art Museum and Pacific Film Archive, California (2021); DePaul Art Museum, Chicago (2019); and Metropolitan Museum of Art, New York (2018). Her work is in the permanent collection of institutions including the Centre National des Arts Plastiques, Paris; Collection Aargauer Kunsthaus, Arau, Switzerland; Fond National d'Art Contemporain, Paris; Migros Museum of Contemporary Art, Zurich; San Francisco Museum of Modern Art; and Walker Art Center, Minneapolis. Perret lives and works in Geneva.
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