The standing man looking at right front - First self-portrait, Circa 2003
Sculpture : acrylic, wood, collage · 140 x 75 x 50 cm 55.1 x 29.5 x 19.7 inch
One of the last works available by this artist
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Shipped from: France
Delivery to: United States , $ 817
Estimated delivery: Two to three weeks
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Verified Reviews : 9.6/10
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 artist
Signature
Hand-signed by artist
Dimensions ( cm • inch )
140 x 75 x 50 cm 55.1 x 29.5 x 19.7 inch Height x Width x Depth
Sold by
Independent artist
Credentials
Vetted seller since 2022
Description
This bold work features a geometric anthropomorphic figure, symbolizing a fusion between art and industrial design. Composed primarily of rigid rectangular and quadrilateral shapes, it evokes a modern statue. The translucent material used allows for a subtle diffusion of light, adding a luminous dimension to the composition. The interlocking square and rectangular patterns add visual interest, accentuating the structure's clean, precise lines. The triangular arms and angular legs impart a dynamic, almost futuristic posture. The head, adorned with linear patterns, surmounts an imposing torso, creating a striking contrast between the simplicity of the forms and the complexity of the whole. This work, at the crossroads of sculptural art and light installations, appeals with its originality and avant-garde aesthetic. Made entirely of recycled materials, it is composed of airplane remains, Japanese paper, balsa wood and partially covered with acrylic paint and varnish. Unique piece. Fragile work (Japanese paper), no conventional transport. Deliverable by carrier. Contact the designer for delivery details.
Presentation
PRESENTATION OF THE ARTIST AND HIS WORK
In these times when everything is digitalized, Stéphane PONTIé, contemporary painter, works on painting as a fundamental component of representation:
"I continue to take advantage of the high graphic potential of this medium by using all its "traditional" mechanics.
At the beginning, I painted an assembly of geometrical and colored forms, and that's all.
Wanting a clear and simple field of expression to realize and understand,
and by affinity for angular forms, I finally banished all curves from my work.
I decided to codify these geometric shapes, according to their use.
I use angular geometric figures to replace the figurative form of a person:
- One geometric shape = one person.
- A line (straight or broken) = the trajectory of a life, the path of someone.
This is how I created my universe by inventing this new graphic syntax.
I also decided to give a thickness to the straight lines, to underline the importance of certain
of life, of a course rather than another. This is why using the magnification of the graphic representation of the line, to symbolize a trajectory, a life, a path seemed to me quite relevant. And the question of the thickness of the line arose.
It seemed to me then logical to use numbers with "this strange alphabet" of geometrical forms, in order to obtain a complete and coherent linguistic base...and to solve problems of thickness of lines.
Suddenly, when I looked at my telephone keyboard, I immediately saw 3 numbers among the others. The 1, 4 and 7, these are the only "non-curved" ones. I then push the "concept of angularity" even further, and use these numbers to create the geometric figures themselves and the thickness of the lines.
And finally, I push the limits of my concept even further, as I use these three figures to compose everything. Even the size of the frames of my paintings: Example 77 x 77 or 117 x 77.
This document is only "The nature of my work". It is essential to couple it, with the "My research themes" to have a more global and precise vision of my work.
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