Demi-sourire -sloopy céramic-2019 (2019) Sculpture by Baptiste Vanweydeveldt

Not For Sale

Seller Baptiste Vanweydeveldt

One of a kind
Artwork signed by the artist
Certificate of Authenticity included
This artwork appears in 1 collections
"Demi Sourire" est un os dans l'engrenage de la porcelaine, c'est un cri primal qui brise la vitrine du vaisselier, c'est des mots bleus attitré à la période post moderne... C'est un rire caraïbe qui a croqué l’alouette... Façonnée dans l'écoute des mains avec une terre noire qui brunie au four, j'ai[...]
"Demi Sourire" est un os dans l'engrenage de la porcelaine, c'est un cri primal qui brise la vitrine du vaisselier, c'est des mots bleus attitré à la période post moderne... C'est un rire caraïbe qui a croqué l’alouette...

Façonnée dans l'écoute des mains avec une terre noire qui brunie au four, j'ai patienté quelques mois pour faire croître une petite série de cristaux de sulfate de cuivre qui ont crévés l'épaisseur d'une mandibule. Deux gestes rapides d'émaux de cendre face à une ou deux nuits blanches d'entraves aux fils DMC...L'oiseaux au cri de cristal y a perdu une plume!
La Liberté a fait le tour du monde, s'est faite pillé par le "Robinsonnisme" des arts "primitifs" (heureusement rebaptisé Arts Premiers") pour ne jamais revenir... "Demi Sourire" est donc une oeuvre de l'ART SECONDAIRE!

Céramique de terre cuite noire Raoult&Beck, émaux de cendre, cristaux de sulfate de cuivre, fils DMC et plumes -2019 par Baptiste Vanweydeveldt.

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Baptiste VanweydeveldtBaptistevwartArt ContemporainArt SecondaireSloopy Ceramique

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Visual artist, born in 1978 in Lille. currently lives in Caen, France. I situate my work between a laboratory of forms (search for volume through drawing, painting and sculpture) and a tendency towards[...]

Visual artist, born in 1978 in Lille. currently lives in Caen, France.

I situate my work between a laboratory of forms (search for volume through drawing, painting and sculpture) and a tendency towards DIY (recycling of found objects and materials, transformation of their uses, reinvestment of their signs and questions about their subjects). I approach several mediums at the same time in order to extend the creative process to other fields of research: anthropology, natural sciences, etc.
The pooling of the two works like a small world with its own energy flows.
Usually I start with a series of sketches, notes and diagrams. I also rely on my reading, on a lot of images, which I feed on with bulimia. I exhaust their meanings until there is emulsion. This may explain the dreamy but also saturated appearance of my installations. Without cultivating a pessimistic view of the world, despite everything, I question our future through figures that are close to us, towards an imaginary that I wish to be collective; it is an opening onto a composition with multiple perspectives.
My recurring themes are environmental around the domus (house, private sphere/public sphere, hospital, etc.) and the extended living, according to a spatial questioning centered on the flow of energies, on magnetism and a set of enigmatic correlations.

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