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Cécile RaynalCat/bird by Cécile Raynal - Animal figurative smoke-fired sandstone sculpture2021
2021
$2,838.80
£2,123.47
€2,370
CA$3,911.73
A$4,299.95
CHF 2,257.45
MX$51,129.49
NOK 28,990.83
SEK 26,407.51
DKK 18,061.86
About the Item
Cat/bird is a unique smoke-fired sandstone sculpture by French contemporary artist Cécile Raynal, dimensions are 30 cm × 11 cm × 24 cm (11.8 × 4.3 × 9.4 in).
This artwork ironically depicts a cat with a bird on his back. This piece is a part of the artist's growing narrative bestiary that has appeared more frequently in recent years. “All sorts of animals and hybrid forms inhabit my work, chimeras, somewhere between animal and human figures.” (Mémoires de Braise, by Cécile Raynal, Private Publishing House, 2018).
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:2021
- Dimensions:Height: 11.82 in (30 cm)Width: 4.34 in (11 cm)Depth: 9.45 in (24 cm)
- Medium:
- Movement Style:
- Period:
- Condition:
- Gallery Location:Paris, FR
- Reference Number:1stDibs: LU803117363232
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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