Cœur 1, 2018
Sculpture : acrylic, wood, metal, Textiles, glass, Tables, jewelry, cotton, embroidery, assemblage · 17 x 29 x 40 cm 6.7 x 11.4 x 15.7 inch
$3,506
3 506 $US
Shipping & delivery
Shipped from: France
Delivery to: United States , $ 351
Estimated delivery: Less than one week
Free returns within 14 days, full refund
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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
Technique & Support
acrylic , wood , metal , Textiles , glass , Tables , jewelry , cotton , embroidery , assemblage , without pedestal
Dimensions ( cm • inch )
17 x 29 x 40 cm 6.7 x 11.4 x 15.7 inch Height x Width x Depth
Sold by
Art gallery
Professional art gallery • France
Credentials
Vetted seller since 2017
Description
Assembly of wood, horsehair, canvas, old embroidery and trimmings, buttons, safety pins, rivets, acrylic, glass and metal box. Box 40 x 29 x 17 cm, heart only 40 x 29 x 17 cm. The creative process in which the work of Marianne Cresson is inscribed is akin to the diversion of techniques, the diversion of objects and the diversion of meaning. What happens when techniques, traditionally used in the context of siege making, are misled into the making of functional objects? The object freed from its usefulness is returned to sensuality, to joy… but also responsible for carrying the memory of a lost “seat”. The technically innovative aspect consists of a pioneering approach to tapestry in art. It is therefore a question, on the one hand, of removing traditional techniques from their formatting (showing that we can do something else with them) and, on the other hand, of making their corpus available to the artist. Caught in a multiple movement of simplification, diversification and adaptation, the techniques that she implements make it possible to enrich the vocabulary of textile work: more complex shapes, roundings, angles, assortment of colors and volumes, hollows and reliefs , emancipation of materials… Experimentation is permanent. What to do with a thousand buttons? In this new challenge and new series, buttons connect us to reality, to nostalgia for childhood, to intimacy, increasing our discomfort, depriving us of softness and ending up contaminating the entire space.
Presentation
After a literary baccalaureate in the plastic arts section, followed in 1980 by a year at the School of Fine Arts in Perpignan, Marianne Cresson embarked on learning the profession of upholsterer and decorator for, she says: "put your hands in and to confront the material. ”. In 1990, she began researching this material. The series of busts appears in 2008 and concretizes his research on the work of the textile in three dimensions. Marianne Cresson exhibited this work in 2009 at the ninth international contemporary art fair in Marseille and spans the bridge between Art and Crafts.
The creative process in which the work of Marianne Cresson is inscribed is akin to the diversion of techniques, the diversion of objects and the diversion of meaning.
What happens when techniques traditionally used in the manufacture of siege, are deviated in the manufacture of objects without function? The object freed from its usefulness is returned to sensuality, to joy… but also responsible for carrying the memory of a lost “seat”.
The technically innovative aspect consists of a pioneering approach to tapestry in art. It is therefore, on the one hand, to take traditional techniques out of their formatting, and on the other hand to make their corpus available to the artist.
Caught in a multiple movement of simplification, diversification and adaptation, the techniques that she implements make it possible to enrich the vocabulary of textile work: more complex shapes, roundings, angles, assortment of colors and volumes, hollows and reliefs , emancipation of materials.
Experimentation is permanent.
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Reviews from our customers
All our reviews are extracted from Verified Reviews
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