Aaai 002, 2025
Sculpture : ceramic · 76 x 30 x 34 cm 29.9 x 11.8 x 13.4 inch
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Shipped from: Spain
Delivery to: Italy , € 225
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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 gallery
Invoice from the gallery
Signature
Hand-signed by artist
Technique & Support
ceramic , without pedestal
Dimensions ( cm • inch )
76 x 30 x 34 cm 29.9 x 11.8 x 13.4 inch Height x Width x Depth
Sold by
Art gallery
Credentials
Vetted seller since 2016
Discount
This seller offers discount when you purchase multiple artworks.
Description
This porcelain sculpture, crafted by the acclaimed artist Lucio Fontana in 1930, captures an intriguing blend of human and mythical features. Its elongated, smooth form is reminiscent of ancient totems, yet it exudes a modern minimalist elegance. The head is abstracted into an exaggerated, elongated shape, with prominent, slightly twisted ears that suggest a fusion between human and animal forms. The subtle, asymmetrical smile and narrowed eyes lend an enigmatic and slightly mischievous expression, inviting viewers into a playful narrative. The pristine white finish accentuates the delicate play of light and shadow across the sculpture's surface, enhancing its ethereal essence. Fontana's work challenges conventional perceptions, merging simplicity with profound symbolic complexity, making it a standout piece that stimulates imagination and introspection. This sculpture is a masterful example of Fontana's innovative approach to form and material.
Presentation
Artist statement by the duo SUDICZKI (Anna Dobrowolska & Maria Jachowicz).
We have been working together as an artistic duo since 2015. Our sculptural practice unfolds without sketches or internal structures - shaped by gesture, trust, and intuition. We run a shared studio in northern Poland, where we work across artistic and educational formats. Over time, we've developed our own rhythm: attentive, responsive, and rooted in material.
In the Sudiczki series, we return to the form of the head - not as a character, but as a presence. These are not portraits or narratives, but forms that carry something: memory, silence, a trace of emotion. The names - Hymm, Aaai - are not titles in the traditional sense, but sounds that emerged during the process. These sculptures are meant to be sensed, not explained.
The five heads shown at Galeria 277 nou form a quiet group. Each one is different, yet they resonate together. They have faces, gazes, ears - listening to what cannot be seen.
They could stand on a rooftop in Barcelona or among damp leaves in the northern forest. What connects them is rain - leaving streaks on glaze, reflecting in an open-ended gaze. None of them were planned. Each emerged from a different moment, a different tension. They don't tell stories. They hold presence. They act like markers in an inner landscape.
Sudiczki - about the series
Our work grows out of a personal reflection on heritage - the unspoken, intuitive kind passed down through fairy tales and family memory. The name of our group carries multiple meanings: SUDICZKI were Slavic female spirits who appeared in threes and entered the human world to shape one's fate - sometimes seen as figures of destiny, sometimes as demons.
With the Sudiczki sculptures, we attempt to awaken a local, feminine mythology intertwined with the legends of Kashubia - a northern region of lakes and forests where our studio is based. This is not a reconstruction of the past, but the embodiment of its echo. Like gargoyles and chimeras perched on Gothic rooftops - perhaps guardians of temples, or simply excuses for unrestrained imagination.
Sudiczki belong to a similar tradition - unruly, strange, and quietly subversive. Born from imagination, yet firmly grounded. The names of each form are drawn from sounds of nature or emotions surfacing during the act of making. Since the first head - Hymm - the Sudiczki family continues to grow.
Each sculpture is unique - hand-shaped without an inner structure, fired twice, glazed spontaneously. No two are alike - each has its own rhythm, surface, and presence. Some we leave in raw form, others we pair with textile elements - contrasting weight and delicacy. Aaai and Hymm stand side by side - different in form, connected by tension. They attract through presence. They require no interpretation - only space.
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