"Ahgha" Aka Caroussel, Fabrice Langlade, 2006

Mobile-stabile sculpture in chromed steel. Monogrammed F.C. and dated 70. Height: 54 cm (21.26 inches) Width: 45 cm (17.72 inches) Depth: 12 cm (4.72 inches) Biography : François Collette...

Coffee table "Cornucopia" by Richard Faure, France, circa 1975 Coffee table / carved brass sculpture representing cornucopia, terminated by half-geodes of amethyst. A light bulb is...

Rare and important specimen of white coral mounted on a brass base. Width: 70 cm (27.56 inches) Height: 45 cm (17.7 inches) Depth: 172 cm (6.5 inches)

Large original sculpture in cement by Juan Palau (Barcelona 1929-Moulins France 2013) Handmade, not molded. Unique piece. Juan Palau left behind a considerable body of work, he c...

Stunning pair of Art Deco busts by the artist formerly known as Kupur , aka Frederick Cooper. These are an example of his earlier work, before he focused on making lighting, primaril...

Erwin Miserre "Rhino" sculpture, circa 1990 Bronze Measures : H. 51,5 x 62 x 16 cm. Quite fascinating story. Erwin Miserre was the spy name of Horst Meier a german secret agent...

This deep Orange, almost Red, Citrine Cluster was handpicked for its rare color tone and wonderful aesthetics. A unique citrine specimen that showcases natural Flower Stalactite form...

A porcelain sculpture by Wayne Fischer. Perfect original conditions. Signed. Unique piece. 2006. How can an inert object produce deeply unsuspecting, indecipherable, uncontrollable emotions? Wayne Fischer is an artist who can create works that force one to ask such moving questions as this. If he doesn’t know why, if he can’t explain the deepest reasons of his artistic research, he definitely knows the workings and limitations of the artistic process he invented. He has never deviated from the course he set for himself since university; translate life. The works presented here show the evolution of his creations over the past thirty years. If Wayne Fischer has received several international prizes and quickly obtained the recognition of his peers in ceramics, nevertheless he retains a singular position at once unavoidable and disturbing. His sculptures are paradoxical, powerful and sensual, and cause a certain unease. They are beautiful, carnal, touchable, all the while being outside the standard idea of beauty. The ambiguity of attraction and rejection is at the heart of this evolution. The pieces from the 1980s and 90s are imposing by their size, stature and symmetry, which give them balance. They generate surprise, curiosity and play between contrasts that are both soft and aggressive. They reference the body, muscles, and torso, without presenting an exact reality. They are double-faced, seductive, and enigmatic. Wayne’s shapes are inspired by shells, bivalves, sometimes presented as though they are floating in space. But the reference of the marine world to the mysterious female body has only one interpretation and only history and emotion condition the reaction of the spectator: he accepts or refuses to see, to be seduced. He is touched or he flees. The more recent sculptures are appreciated in the fullness of their round volume and the search for a pure universal beauty. “Metamorphosis,” the work recently awarded by the Bettencourt Foundation, is from this series of pieces wheel- thrown and deformed which pushes the porcelain from the inside so the bulges evoke the movement of waves or the musculature of several bodies. The exactness, the clean breaks, the assurance of lines and valleys are testimony to the interior power that governs the creation. The life energy expressed is also felt by the artist as the origin of ceramics. All the pieces are curved and tense. They show no marking, no sign of the hand, no imprints, and yet give an impression of spontaneity, as if a dropped piece of clay found its form by chance. Depending on the angles, the content becomes “the origins of the world”. Femininity and sensuality are exalted. Inspired by the body, before and after birth, or simply the sea, the parts of the sculpture conjugate around a mysterious interior cavity, secret and troubling. The interior wall doesn’t correspond to the exterior, and has its own volumes, deformities, and intimacy. The pieces present two kinds of interior: one open, and partially uncovered, the other totally hidden inside. The differences of their respective deformation reinforce the impression of life : the subjective representation of muscles and bones, of bulges pushed by an interior force, like a visceral movement of respiration. The surface of the ceramic is crackled but soft and fine, even reflecting light like the skin. The nuances of color reinforce the expression of sensuality. The alignment of technique and what it causes one to see and feel has rarely been so intimately successful. Wayne Fischer perfected his technique in the 1970s and has remained faithful to it. He adds fibers to porcelain clay that has been chosen for its whiteness to create and accentuate volume around empty space, by assembling slabs or thrown pieces. Then, he makes another piece that takes its place inside; both parts are formed with no hand...