Jessika,
2019
by Patrick Castillon
Sculpture : bronze, wood, metal, stainless steel 187.5 x 59 x 58 cm 73.8 x 23.2 x 22.8 inch
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About the artwork
Unique work
Hand-signed by artist
Sold with certificate of Authenticity from the artist
Invoice from the gallery
Sculpture: bronze, wood, metal, stainless steel
187.5 x 59 x 58 cm 73.8 x 23.2 x 22.8 inch Height x Width x Depth
Sculpture sold with iron pedestal
Dimensions of pedestal:
0.5 x 60 x 40 cm
0.2 x 23.6 x 15.7 inch
The sculpture cannot be displayed outdoors
Artwork sold in perfect condition
Artwork location: France
At first it was a weld, it reminded her of and looked like the tip of a woman's breast. This soldering point trotted in her head for 20 years, and then the relation with the ceramic technique of the colombin becomes obvious, the pieces of concrete iron are assembled next to each other and soldered with electric welding. The big difference is that the colombins are shaped after welding whereas the reinforcing bars are formed before welding. The modification after welding remains minimal and delicate.
His passion for contrasts allows him to express himself fully thanks to this technique: no more constraints of shapes or dimensions. The use of a material as common as the concrete iron to sculpt, the heaviness of iron to sublimate women's bodies and the lightness of dance, the inside burnt by the welding and the outside shiny and polished by the grinder, everything is a pretext for contrast.
His sculptures almost always revolve around women, obviously his main source of inspiration. "I don't just love women, I admire them! ». "As I can't draw, I take pictures, so my studio looks like a trucker's cab, but I assume: for me nothing is more beautiful than a woman's naked body, her breasts, her buttocks, her hips...". The material is not lacking and its inspiration is permanent. But beware! the room for manoeuvre is narrow, the game consists in tending towards eroticism without falling into vulgarity. The notion of vulgarity is very subjective, what is vulgar for some is not vulgar for others. Not to mention that sometimes the temptation is great to be provocative. The aim of the artist is above all not to rally the opinion of the public, but to surprise, amaze and finally to educate the public.
His sculptures indicate, show, direct the gaze, they force us to guess what he does not want to show us. He reveals only the essential, removing material to accentuate movement, leaving only a guideline to fluidify elegance. His method is slow, noisy and dirty, scrap metal is omnipresent and always at the service of the essential curve... He wants to be only one thing, the scrapper of the essential.
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His passion for contrasts allows him to express himself fully thanks to this technique: no more constraints of shapes or dimensions. The use of a material as common as the concrete iron to sculpt, the heaviness of iron to sublimate women's bodies and the lightness of dance, the inside burnt by the welding and the outside shiny and polished by the grinder, everything is a pretext for contrast.
His sculptures almost always revolve around women, obviously his main source of inspiration. "I don't just love women, I admire them! ». "As I can't draw, I take pictures, so my studio looks like a trucker's cab, but I assume: for me nothing is more beautiful than a woman's naked body, her breasts, her buttocks, her hips...". The material is not lacking and its inspiration is permanent. But beware! the room for manoeuvre is narrow, the game consists in tending towards eroticism without falling into vulgarity. The notion of vulgarity is very subjective, what is vulgar for some is not vulgar for others. Not to mention that sometimes the temptation is great to be provocative. The aim of the artist is above all not to rally the opinion of the public, but to surprise, amaze and finally to educate the public.
His sculptures indicate, show, direct the gaze, they force us to guess what he does not want to show us. He reveals only the essential, removing material to accentuate movement, leaving only a guideline to fluidify elegance. His method is slow, noisy and dirty, scrap metal is omnipresent and always at the service of the essential curve... He wants to be only one thing, the scrapper of the essential.
About the seller
iXiart Gallery • France
Artsper seller since 2018
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This seller rewards your purchases of multiple artworks
Patrick Castillon was born on April 5th 1950 in Touffailles in Tarn et Garonne. He grew up in Arcachon and lives since 12 years in the nearby town La Teste de Buch. His first employer had told him : "If you want learn to work, you'll often have to change your boss, the more people you meet, the more you learn.". So, Patrick Castillon had nineteen bosses before to become officer.
After a ceramist training in 1977, he becomes artisan potter in Arcachon. This experience lasts three years, he gains money, but to sell he had to be well placed and to be well placed he had to pay a big rent. The importance of this rent destroys his accounts and elections of 1981 destroys his tenacity. No matter, in the meantime he teaches pottery classes at the youth centre of Arcachon. Finally, he is appointed in 1985.
The relation with sculpture doesn't seem obvious. However, pottery curves and the shape of a breast or a buttock are closely linked. The eye became accustomed, the eye educated himself, the eye learned, the eye leads the hand.
Initially was a welding point, that reminded him of the tip of a woman's breast. This welding point walked in his head during 20 years, and finally the ceramic technique of the colombin becomes an obvious. Pieces of reinforcing steel are assembled side by side and welded to electric welding. The big difference is that colombins are shaped after welding while the concrete irons are formed before being welded. The modification after welding remains minimal and delicate.
Its technique allows him to express his passion for contrasts : no more constraints of shapes or dimensions. The use of a common material for sculpting, the heaviness of iron to sublimate women's bodies and the lightness of dance. The interior burn by welding and the exterior shiny and polished by the disc maker, all is pretext to contrast.
His sculptures mainly represents women. "I don't just love women, I admire them!". "As I don't know draw, I take pictures. So, my studio looks like a truck driver's cab, but I assume : for me nothing is more beautiful than a woman's naked body, her beasts, her buttocks, her hips...".
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Patrick Castillon
Jessika, 2019
Sculpture
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