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Cécile RaynalThe Skipper (Le Pacha) by Cécile Raynal - Male portrait sculpture, sandstone2012
2012
$5,480.41
£4,071.56
€4,600
CA$7,598.83
A$8,171.90
CHF 4,369.53
MX$98,550.84
NOK 55,255.74
SEK 50,345.09
DKK 35,059.64
About the Item
The Skipper (Le Pacha) is a smoke sandstone, steel and cotton sculpture by French contemporary artist Cécile Raynal, dimensions are 50 × 31 × 25 cm (19.7 × 12.2 × 9.8 in). The sculpture is a unique piece signed by the artist, and comes with a certificate of authenticity.
The sculpture is composed by a smoke sandstone bust representing a male character and a base constituted of stacked working clothes.
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.
This sculpture was created during a 90 days residency onboard a container ship sailing between Europe and the Antilles: ‘Ship Crew’.
- Creator:Cécile Raynal (1966, French)
- Creation Year:2012
- Dimensions:Height: 19.69 in (50 cm)Width: 12.21 in (31 cm)Depth: 9.85 in (25 cm)
- Medium:
- Movement Style:
- Period:
- Condition:
- Gallery Location:Paris, FR
- Reference Number:1stDibs: LU803117229192
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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