Trikota, 2024
Sculpture : gold leaf, Sandstone · 27 x 15 x 15 cm 10.6 x 5.9 x 5.9 inch
$1,286
1 286 $US
One of the last works available by this artist
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Shipped from: France
Delivery to: United States , $ 245
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Verified Reviews : 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 gallery
Invoice from the gallery
Signature
Hand-signed by artist
Dimensions ( cm • inch )
27 x 15 x 15 cm 10.6 x 5.9 x 5.9 inch Height x Width x Depth
Sold by
Art gallery
Professional art gallery • France
Credentials
Vetted seller since 2017
Description
2 pieces, modeled black stoneware and gold leaf, 27 x 15 x 15 cm and 6.5 x 5.5 x 3 cm
Éliane Monnin draws on three aesthetic repertoires to generate her pieces. The first addresses form, the second pattern, and the last color. These repertoires have been conceived over a long period of time and are continually enriched. The ceramist's work is the result of combinatorial variations subject to slow but constant evolution or mutation. This is quite comparable to the changes that living things undergo to adapt from one generation to the next, thus altering their appearance and internal functioning over time.
The forms approached by the ceramist are simple, elementary, like the use of the hemisphere (initially a container that has to do with the fundamentals of pottery). There is also the molding of gourds. In both cases, it is a question of building the bases of a body soon enveloped in a complex skin elaborated from an accumulation of small fragments scrupulously arranged according to a system that can recall the fractal and form the pattern — scales, knitted meshes. Finally, the color, through the use of enamel, engobes, gold leaf or specific earths, brings nuances, contrasts and contributes to the reading of the piece.
While the sculptures created by the ceramist are not representational (Éliane Monnin does not seek to reproduce the living), they nevertheless touch on a common frame of reference: nature. She produces strange objects that the viewer cannot help but try to identify, sometimes seeing a succulent plant, sometimes coral. But the artist deliberately blurs the lines.
What is remarkable is that the artist's ceramics, although frozen by firing, reveal things that grow, blossom, develop or spread.
The artist works instinctively, the piece is built by eye by hand and moves away, over the course of the creation, from her initial thought. Éliane Monnin gives body to pre-existing objects, which are contained within her and which express her fascination and wonder at the slightest element scrutinized in nature.
Presentation
Eliane Monnin was born in Morteau (Doubs), from a family of watchmakers, speleologists and collectors of collections. After studying applied arts and then plastic arts at the faculty of Strasbourg, she set up her workshop in the Basque country in 2002. A new field of action opened up to her in 2007 when she discovered working with the land. , this material animates her and the fascination she feels towards nature and its organic abstractions pushes her to create a sensitive universe close to living things. Through these primitive living systems, the artist seeks representations of our own body. Viruses emerging from the abyss, soft beasts with strange epidermis, the impression of a teeming life, animal, plant or human, she blurs the tracks and builds a universe oscillating between attraction and repulsion. These improbable objects born of a personal mythology, taken out of a cabinet of curiosities, refer us to the ambivalences of the body, to the territories of touch and touch. "We find, in Eliane Monnin's creations, the spirit of the classic Cabinet of Curiosities and its elementary engine: to amass, isolate, order but also place the rare object in a space, a context that charges it with meaning. There is also something of the fascination for the mathematical structure of natural objects, for the paradox between the irregularity of shapes and the formula behind the perfect repetition of patterns, for nature as the producer of a life drive that could to confine to art, which itself would reproduce something of nature ... Shells, epidermis, gushes of plants, organics, minerals emerge in a disturbing staging where obsession, fascination-repulsion, anguish ... but also humor, are not absent. It is at the same time the marvelous and the poetic, the intimate and the emotion, which play in the work of Eliane with the borders between the wonders of nature (naturalia ), the tour de force ar tisanal and artistic language (artificialia). " by Sevan L'Hostis. 2015.
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