The Alouettes' crown (2019) Sculpture by Baptiste Vanweydeveldt

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One of a kind
Artwork signed by the artist
Certificate of Authenticity included
This artwork appears in 5 collections
Cette sculpture , composée de bois et de terre cuite émaillé, dans un carcan de fil qui l'emp^che de fuir, semble un oiseau...mais un bien vouloir y pr^ter attention : c'est elle qui nous regarde par ses trois paires d'yeux qui comme une couronne enserre notre imagination , nous ne pouvons l'envisager autrement que comme elle se[...]
Cette sculpture , composée de bois et de terre cuite émaillé, dans un carcan de fil qui l'emp^che de fuir, semble un oiseau...mais un bien vouloir y pr^ter attention : c'est elle qui nous regarde par ses trois paires d'yeux qui comme une couronne enserre notre imagination , nous ne pouvons l'envisager autrement que comme elle se présente, pas de fuite, point de pensée au delà de sa vrille...
Je me rappelle avoir lu quelques part (Bachelard?) qu'Ulysse n'a pas eu à faire à des sirènes mais bien des alouettes, de leur chant strident , on peut perdre la t^te. Mélopée ent^tante qui comme une couronne de radio FM nous emp^che d'apprécier la beauté d'un silence Sculptural...

Comme un avion aveugle sur des kilomètres de silence...

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Baptiste VanweydeveldtBaptistevwartArt ContemporainTotemOiseau

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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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