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Cécile RaynalWorld-tree IV by Cécile Raynal - Smoke-fired stoneware sculpture, nature, branch2022
2022
About the Item
World-tree IV is a unique Smoke-fired stoneware and pigments sculpture by French contemporary artist Cécile Raynal, dimensions are 90 × 70 × 55 cm (35.4 × 27.6 × 21.7 in).
With the use of branches to represent trees or to "vegetalize" human and animal figures, Cécile Raynal has recently introduced the vegetal universe into her sculptures. World-tree IV alludes to Richard Powers' book "The Overstory", which is also known as "L'Arbre-monde" in French. The artist has looked into the world-tree theme multiple times. The piece of art was displayed at the Maurice Denis Museum in Saint-Germain-en-Laye, France, during the Rêves(s) de filles exhibition.
Cécile Raynal uses sculpture as a way of exploring the world, between documentary and fiction. Thus she often sets up her workshop in remote, forgotten or marginal places, that she goes over and then reconstructs in clay. A prison, a retirement home, a hospital, a convent, a cargo-ship… are among the places in which she invites the inhabitants to pose for her, so as to sculpt their portraits and capture these rare encounters.
- Creator:Cécile Raynal (1966, French)
- Creation Year:2022
- Dimensions:Height: 35.44 in (90 cm)Width: 27.56 in (70 cm)Depth: 21.66 in (55 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Paris, FR
- Reference Number:1stDibs: LU803113708202
Cécile Raynal
Whether human or animal, Cécile Raynal’s figures are a way to explore the world. The artist travels to remote, forgotten or marginal places immortalising in clay life stories that she brings back to her studio. Her work has been exhibited in prestigious museums such as the Musée des Arts et Métiers (Paris, 2018) and is the subject of ambitious public commissions such as the bronze sculpture of Winston Churchill in Cap-d’Ail (France). “The result of chance or sought-after encounters, my work starts with the sculpted portrait, a totemic record of each of these confrontations, and builds itself on the complicity, the exchanges and the correspondence resulting from them.”
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