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Abstract post modern polychrome pyramid sculpture Memphis 1980, wood - Signed
$1,722.59
£1,292.26
€1,450
CA$2,385.05
A$2,592.14
CHF 1,389.15
MX$31,473.14
NOK 17,439.91
SEK 16,172.87
DKK 11,046.31
About the Item
Abstract post modern polychrome pyramid sculpture, Memphis movement 1980
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Wood
Signed and dated 80s
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Dimensions :
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As you can see in the photos, there are many gaps which in no way detract from the beauty of this piece.
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It is damaged in many places, missing paint and a lack at the top of the tip of the sculpture
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Height : 50cm
Depth : 43cm
Width : 36 cm
It is from VALENT HODI MIHÁLY Hungarian.
Painter, sculptor (Fót, 1937-), he still maintains contact with his relatives living in Vanyarc (his father is Mihály Valent, who married Fótra de Vanyarc).
He has lived abroad since 1956, settled in Switzerland, got married there and now lives in Fót again. He is a founding member of the group of artists Groupe N9. He devotes himself to painting, sculpture and making cartoons. At first he mainly created collages. He first painted his sculptures black, then turned to using bright colors. He mainly works with wood and also deals with interior decoration. He has participated in numerous individual and group exhibitions. His public sculpture is in Geneva (Totem).
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Founded in Milan in 1980 by Ettore Sottsass, the Memphis group is a gathering of architects, young creators and designers. It opens up more to fashion and current international artistic movements such as Pop Art. He immediately destabilized the codes of post-Bauhaus design by introducing; a much wider range of colors, the kitsch pattern and the use of laminate in furniture. More generally, he is at the origin of new forms in the world of furniture, lighting and tableware.
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Named after Bob Dylan's song Stuck Inside of Mobile With The Memphis Blues Again, the name refers not only to rock but also to the capital of ancient Egyptian civilization, and of course to the city where Elvis Presley lived. He had a sense of humor that was lacking in design at the time.
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With this movement, Sottsass and his gang wanted to put an end to the ambient good taste. The bourgeois interiors were chic and sober with cream tones, glass tables and tubular legs everywhere. The Memphis style advocated for colorful interiors, where chic materials would be combined with kitsch materials. These design troublemakers were not afraid of eccentricity. On the contrary, they married the unassociable. Wood, plastic, metal, laminate came together in improbable forms. You have to see Sottsass’s “Carlton” bookcase, which looks like an immense totem, to be believed, or even his “Tahiti” lamp, which has a surreal look, to understand the movement’s attachment to extravagant silhouettes.
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