Forme de biscuit et résidu d'emballage

$386
Sculpture
One of a kind work
8 x 2 in
Recipient of the dedication:

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Technique
Metal Sculpture
Type
One of a kind work
Dimensions
8 x 2 in
Quality Guarantee
Sold with a certificate of authenticity

Inspired by Penone’s work, the Forme de mise en Cène collection includes about ten unique pieces cast in aluminium alloy. Each one comes from a food, taken as a paragon of the ephemeral, which was calcined during the molding process. The molten metal fills the impression thus released and then comes to freeze/capture the vernacular form, so common and yet unique of each subject and thus makes it fall into an almost eternity.

What wants to resemble a transfiguration comes to question the nature of the individual being, how he defines himself within a class of similar individuals and how he participates in defining the latter. However, the foundry artist took care to create a space of freedom for the metal. It is not an exact casting or a perfect reproduction made of another material but a re-reading of the shape by the manufacturing process and the facets of the liquid metal.

The sculptures of the Last Supper Form oscillate between a frank figuration and an unrecognizable abstraction of the initial subject. The surprise is expected at the exit of the mold, the creative dialogue between the artist and the material then continues with the chasing.

Form of biscuits and packaging residue is the fourth piece in the collection. Strictly speaking, they are two independent parts forming a whole. The small shortbread biscuits are as obvious as so many childhood madeleines but the question of this other adjacent shape comes up. What could evoke a devastated urban horizon is none other than the cardboard that covered these cookies.

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artist avatar

Alexandre Behot

24 fans

SAGY (95), FRANCE

37 works

I discovered the foundry by chance. Moreover, in retrospect, my life often seems to me like a succession of happy accidents. However, it was perhaps from my first contact with molten metal (in 2008) that I began to really force fate. It was a slap, an emotion, a love at first sight, go through all the galvaudeous figures that suit you, I had found my way. The foundry. Take metal, an alloy, wear over high heat: it melts! pour the liquid into a mold (or elsewhere). Serve cold. Since then I have been exploring the many sides of this discipline. First an engineer, then a craftsman, then an artist. I like to imagine myself as the explorer of a terra incognita with no horizon that would be the whole of what can be done with liquid metal. After studying and practicing traditional art casting techniques I started looking for alternatives/biais/dévoiements. Not in a scientific, quantitative, measured way... but not just any way. What drives me is the tension of the casting and the surprise of the opening of the mould that follows it. Let myself be suspended by the metal that has more or less bent to my will, observe how it has taken over the spaces of freedom that I have created for it. Epiphany or disappointment, the chasing and patina then begin a creative dialogue with the material, from the raw material to the sculpture. I explore new craft techniques in order to draw from them artistic forms that I hope will be new, but also sensitive and evocative.

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