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Éric Théret, Miroir Noir,
Éric Théret, Miroir Noir,
Éric Théret, Miroir Noir,
Éric Théret, Miroir Noir,
Éric Théret, Miroir Noir,
Éric Théret, Miroir Noir,
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Éric Théret, Miroir Noir,
Éric Théret, Miroir Noir,
Éric Théret, Miroir Noir,
Éric Théret, Miroir Noir,
Éric Théret, Miroir Noir,
Éric Théret, Miroir Noir,
Éric Théret, Miroir Noir,
Éric Théret, Miroir Noir,
Éric Théret, Miroir Noir,
Éric Théret, Miroir Noir,
Éric Théret, Miroir Noir,
Éric Théret, Miroir Noir,

Miroir Noir, 2026
Éric Théret  

Sculpture : granite, stone · 70 x 30 x 30 cm 27.6 x 11.8 x 11.8 inch

€10,900 10 900 €

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Shipped from: France

Delivery to: France , € 327

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Verified Reviews : 9.6/10
9.6/10
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About the artwork

Type

Sculpture : Unique artwork

Condition

Artwork sold in perfect condition

Authenticity

Sold with certificate of Authenticity from the artist

Invoice from the gallery

Signature

Engraved signature

Technique & Support

granite , stone , without pedestal

Display

The sculpture can be displayed outdoors

Dimensions ( cm • inch )

70 x 30 x 30 cm 27.6 x 11.8 x 11.8 inch Height x Width x Depth

Sold by

Art gallery

Galerie Isabelle Dedieu • France

Credentials

Vetted seller since 2018

Discount

This seller offers discount when you purchase multiple artworks.

Description

5 lenses, in black Indian granite, sealed to one another: the first placed flat, is the support.  The second begins to rise, then the third, the fourth and finally the fifth almost vertical. This fifth lens has a flat mirror-polished face unlike the other four, which are polished-softened.

Five granite lenses make up The Black Mirror.
Placed horizontally, the first seems to belong to the earth. Then a second rises, sealed in an angle. A third continues the movement, then a fourth, each resting on the previous one. Little by little, the sculpture straightens, as if the material itself were seeking to leave horizontality to reach verticality.
The fifth lens is the culmination of this ascent. Standing vertically, it presents a perfectly flat face, polished to become a true black mirror.
Unlike the other four, whose surfaces are polished-softened, it does not diffuse light: it captures it, turns it around, and makes the world around it appear.
The choice of five lenses is not accidental. The number five carries a deeply human symbolism. It evokes the five senses by which we discover the world, but also the hand, the gesture, the relationship between man and matter. It is a number of opening and passage: it connects what is earthly to what rises, what is immobile to what becomes movement.
In The Black Mirror, the five forms thus seem to tell a progression. From softened matter to light, from horizontality to verticality, from the gaze fixed on the sculpture to the gaze the sculpture reflects back to us.
For the mirror never shows only what faces it.
It forces us to recognize ourselves in it.
Facing this last black lens, the spectator becomes then a part of the work.
Its reflection appears, mixes with the depths of the granite and sometimes disappears according to the light and the angle of the gaze.
The Black Mirror is thus a sculpture of movement, elevation and consciousness:yes
five forms to lead the gaze from the earth to man, and from man to himself.

Minimalism

Geometric

Circle

Balance

Totem

Black
Éric Théret

Éric Théret

France  • 1968

Presentation

For Éric Théret, monumentality is never an end in itself. It is not the expression of power or heroic impulse, but the result of a slow and demanding dialogue between the human hand and the age-old material. In his granite works – notably, a series of arches weighing up to 18 tons – an almost metaphysical tension is established between the density of the material and the lightness of the sculptural gesture. Théret does not tame the stone; he questions it, crosses it, listens to it.

At the crossroads of megalithic sculpture traditions and contemporary experiments with space, his work shares an implicit connection with the Carnac menhirs as much as with Naum Gabo's "Spatial Constructions." But where Gabo uses emptiness as an extension of volume, Théret uses mass to reveal emptiness: the space between the arches, the interstices left open, become thresholds, places of passage in both a symbolic and physical sense.

His approach is reminiscent of Richard Serra's, in the idea that sculpture is an environment to inhabit, not an object to contemplate. But unlike Serra, whose steel plates impose a form of physical intimidation, Théret instead opens doors in the material. He doesn't close off space: he invites it in. Granite, heavy and opaque, becomes a breathing medium for him.

In his glass paste collaborations with Daum, we find this same obsession with the passage, light, and memory of the elements. Glass, as opposed to granite, completes Théret's visual alphabet: transparency versus opacity, fluidity versus solidity. A dialectic that could be read as a discreet echo of the work of Giuseppe Penone, and more broadly of Arte Povera, in their shared desire to reconnect with the world's raw materials.

Éric Théret's work then poses this essential question: what can sculpture still do in the era of the virtualization of reality? His answer is clear: it can still anchor. In a volatile world, his stones hold firm. They mark the territory, offer landmarks. Not monuments to the past, but foundations for perception.

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