Artwork
“I don’t do abstract sculpture. I have always looked for the human in sculpture”
The works of Parvine Curie have a double essence, that of an intimate monumentality which imposes itself through its forms, as much as it attracts and reassures us. The sculpture practice of this artist who was the companion of François Stahly has never ceased to embody her great sensitivity as a woman and mother and has gradually evolved over the course of a life rich in travel and discoveries. Her works are thus marked by the visual, formal, but also spiritual force of the architectures of many cultures which fascinate her. Her love for Spain, and more specifically Catalonia where she lived for a long time, marked her personal history as much as her artistic career and was paramount in the creation of the artist’s major works. This Character “Cadac”, a proud and elegant totem, symbolizes the preponderant place that this small village of Cadaquès still occupies today in the artist’s heart where she likes to recharge her batteries.
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1988 – ED. 2022
Painted cast metal – white or black
H. 30 x W. 9 x D. 8 cm – 3100 g.
Signed and numbered at 99 ex.
Dimensions of the box with protective case: H. 36 x L. 14.5 x D. 10.5 cm
Artwork
“When I discovered sculpture, I found a kind of strength that pushed me to define a form that is close to a “mother compartment”, both architecture and character. I don’t do abstract sculpture. I have always looked for the human in sculpture”, Parvine Curie, interviews with Scarlett Reliquet.
The works of Parvine Curie bear two essences, that of monumentality and intimacy. They impose themselves by shapes that attract us and reassure us. If her prac- tice of sculpture has evolved during her rich life of tra- vels and discoveries, she has never ceased to incarnate her great sensibility as a woman and a mother. It is not by accident that many of her works integrate this theme. Theses mothers are real cabin-ships that sym- bolise a transcended mother, powerful and protecting.
In the work Sheltered child (L’enfant abrité) we can particularly find this strength. Her keenness for slender forms brings us to mind a refuge as well as the reassuring comfort of a united family, and we can’t help to have a moving thought for her son, the poet David Martí who died in 2007. The choice of integrating this work to the Art For All collection is not trivial. It proves once more the richness of contemporary sculpture and its impact on our modern society.
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2007 – Ed. 2021,
Painted cast metal Black or white
H. 14 x W. 14 x D. 11 cm – 2700 g.
Signed on the side Numbered at 300 ex.
Dimensions of the box with protective case: H. 20 x W. 20 x D. 15 cm
Video
Find out more about L’enfant abrité, a work in which Parvine Curie transcribes a powerful and infinite love.
Artwork
“Even the workers who do the smallest tasks accomplish an important work every day.”
At the crossroads of cultures and worlds, Li Lihong never ceases to surprise us with his hybrid figures that emerge from the encounter of art and contemporary iconography.
His latest work Michelin China finds its shape in both religious art and publicity. In a state of meditation, the Michelin mascot, famous icon of the French brandthat brings to mind throughout the world, gastronomic excellency and luxury, is now portrayed as a Buddha. His impassive face, practically fading away as the fea- tures underline a serene face that inspires a profound feeling of calm and relaxation that contrasts with the high sense of parody that comes from the cultural clash. In such, the colors and patterns that ornate this work relate either to temple idols or to ancient Chinese pottery reminding us how much Li Lihong is a master at creating bridges between the ancient and the contemporary. The artist brings a smile to our face as he also makes our mind wonder as he takes us to the heart of his universe with this new work that is to be included in the Art For All collection. An incredible concentration of delight.
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Édition “ART FOR ALL” by Galerie Loft,
2020, Painted metal cast,
Blue clouds patterns,
H.10 x L. 9 x P. 8 cm – 855 gr.
Signed below and numbered in 999 copies
Dim. of the box (with protective case) : H.11 x 15 x 15 cm.
Artwork
“Bernard Quentin what have you just done? Well I’ve simply blown up a balloon and given it life. It’s a simple envelope that takes a shape and evolves. Since I can’t represent reality as I see it, I try in fact to apprehend in a tactile manner, the intimate rhythms, even the great cosmic rhythms and all the mystery of biology.” (Interview with Bernard Quentin, INA, 1968.)
Bernard Quentin’s researches on pneumatic struc- tures bring him to be in the 1960’s the first designer to conceive seats entirely inflatable and without holding structures. With this line of work he then develops, from 1966, the Molecul’Air idea, infla- table structures made from an agglomeration of spheres, in the manner of a cloud of atoms suscep- tible to be transformed into a piece of furniture or even a house. His Molecul’Air armchair, hybrid piece between sculpture and furniture expresses maybe better than any other work the poetry, the magic, and the futurism of Bernard Quentin’s work. Artwork imagined in 1966, its technical complexity did not permit the edition of it till today. Beyond that, its innovative strength and crazy modernity have remained intact. With the idea in mind of revealingit to the great public, the artist wished to include it in the Art For All collection just before leaving us.
Exhibition
2021, AERODREAM, Centre Pompidou-Metz , France
2020, Le siège se révolte, Musée Saint Quentin, Yvelines, France
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Edition “ART FOR ALL” by Galerie Loft Paris
1966 – Ed. 2020
Inflatable PVC furniture
H.60 x L.150 x D.112 cm
H. of the seat : 40 cm
Edition of 600 copies
Signed below
Dim. of the box : H. 23 x L. 48 x P. 27,5 cm
Inflate & Deflate Electric Air Pump inclus (230V, Type C)
Video
Discover Bernard Quentin’s passion for air and pneumatic structures through these examples of modernity and poetry!