Bronze masque, Circa 2018
Ohad Ben-Ayala  

Sculpture : bronze, clay, resin, silver · 24 x 15 x 12 cm 9.4 x 5.9 x 4.7 inch

$2,812 2 812 $US

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Shipping & delivery

Shipped from: Israel

Delivery to: United States , $ 274

Estimated delivery: One to two weeks

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Verified Reviews : 9.6/10
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About the artwork

Type

Sculpture : numbered and limited to 12 copies

1 copy available

Condition

Artwork sold in perfect condition

Authenticity

Sold with certificate of Authenticity from the artist

Invoice from the artist

Signature

Engraved signature

Technique & Support

Dimensions ( cm • inch )

24 x 15 x 12 cm 9.4 x 5.9 x 4.7 inch Height x Width x Depth

Dimensions of pedestal:

5 x 18 x 12 cm 2 x 7.1 x 4.7 inch

Sold by

Independent artist

Credentials

Vetted seller since 2023

Description

Limited Series of 30. This cast is numbered 3 Bronze via sand-casting. It's possible to commission the work in other materials as well as other forms of cropping and base-attachment. This work is a fragment from a lager invention currently being cast in another material. This cast was finished exclusively by the artist using traditional and modern methods and tooling. Signature hand-engraved by artist at the base. Artist reserve the right to make other casts in any other materials. Ships in a wooden box (listing weight includes the wooden box and pedestal) Contact Artist for additional info. The term "Series" indicates that while no more than 30 casts will be produced (in any alloy/metal), it's also possible that the series will be terminated sooner, with the total number of copies being substantially lower.

Israel  • 1981

Presentation

Ohad Ben-Ayala, b.1981 .

Lives and works in his studio in Tel-Aviv.

The sculptures presented on this profile reflect a decade of exploring bronze and other non ferrous metals as sculptural materials.

All of the works shown here at the moment were roughed out and modeled first (from nature or an invention) using another material – mostly water based clay or soft bee-wax. 

Either way, more than one aspect of each work was always left unfinished, so it could be later resolved in the final metal it was cast in, and thus giving the metal more meaning than just a casting material.

This method was meant to find some middle way between the desire to create a single, unique and individual art piece – and at the same time develop multiple other versions, with all the possibilities offered by casting and re-casting each sculpture in different materials.

Traditional methods of chasing and repousse were combined with electric and pneumatic grinding, polishing, welding and soldering.  

Various bronze alloys, aluminum and sometimes brass were cast using both sand casting and lost wax casting methods. With the founder's role limited to pouring the molten metal - Each sculpture is resolved and finished by the artist's own hands.

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