Sculpture Arbre de vie

JOCELYNE BOSSCHOT

This description has been automatically translated and may not be completely accurate.
€3,850
Mythical theme, mythological, symbolism still relevant. This one has a peculiarity with its reference to feeder breasts, associated with ...
  • Material : GRES BLACK ENAMEL
  • Color : bronze and ocher on black background
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Sculpture Arbre de vie

JOCELYNE BOSSCHOT

€3,850

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This description has been automatically translated and may not be completely accurate.

Mythical theme, mythological, symbolism still relevant. This one has a peculiarity with its reference to the nourishing breasts, associated with the nourishing earth. An open door to the Garden of Delights ... Frenzies of matter that goes from dark matte and rough to satin lavish moiré bronze. In these volumes between the roundness of the blooming forms and their innumerable multiplication ... something rebellious, alive and joyous is happening.

  • Type personnalisé : modular column of vegetable inspiration
  • Type : Pièce unique
  • Certificat d’authenticité : Yes
  • Dimensions : H230cmx45cmx45cm
  • Convient en extérieur : Yes

Piece delivered with: a certificate of authenticity

Materially, the work consists of 7 modules threaded on a metal axis and mounted on a patinated steel base. It is a black sandstone very chamotte cooked at 1265 ° covered with engobe and enamel of bronze. It reaches a height of 2m30 in height. It can be installed in an entrance hall, in a winter garden or even in a park. In a park, the modules can be stabilized by sticking them together with cement glue. Sandstone is not afraid of frost or heat either. It is a very resistant and unalterable material. It is a unique work, nevertheless, I imagine very well declining it in other works on this theme, (in white sandstone, paste of glass). The fact of being flexible can also imagine short versions ... The set can then give rise to a more consistent installation in its occupation of space.

Thanks to my international selections, I gained the confidence I needed: today I allow myself audacity, beyond conventions. Since 4 years, I develop an approach around the fold. This approach is based on the philosophical and scientific writings of Gilles Deleuze ..., I also like to play multiple meanings: folds of fabric or folds of flesh? Blooming fruits or feminine sensuality? From ambiguity wrapped in mystery born poetry.

Materially, the work consists of 7 modules threaded on a metal axis and mounted on a patinated steel base. It is a black sandstone very chamotte cooked at 1265 ° covered with engobe and enamel of bronze. It reaches a height of 2m30 in height. It can be installed in an entrance hall, in a winter garden or even in a park. In a park, the modules can be stabilized by sticking them together with cement glue. Sandstone is not afraid of frost or heat either. It is a very resistant and unalterable material. It is a unique work, nevertheless, I imagine very well declining it in other works on this theme, (in white sandstone, paste of glass). The fact of being flexible can also imagine short versions ... The set can then give rise to a more consistent installation in its occupation of space.

Craftsman

Artiste visuelle, je suis venue à la sculpture céramique il y a près de 12 ans, parce que l'argile est un matériau magique, fantastique, j'ai plongé dedans à corps perdu!. Au fil des nombreux concours internationaux* pour lesquels j'ai été sélectionnée, j'ai acquis la confiance dont j'avais besoin: aujourd'hui je m'autorise des audaces, par-delà les conventions. Depuis 4 ans, je développe une approche autour du pli. Cette approche est basée sur les écrits philosophiques et scientifiques de Gilles Deleuze. Je suis à fond dans un travail de recherche, c'est là mon domaine : j'aime prendre des risques et des défis... dans le domaine de la création de formes et de matières. Engagée dans un art résolument contemporain, je développe un savoir-faire très personnel. *Sélectionnée en 2009 au concours international de porcelaine de Limoges, en 2011, à la biennale de Corée, puis en 2015 à la Triennale des Pays Bas, et puis cette année à la Biennale Internationale de Carouge en Suisse)