Marcel Taton - The Lost Wax Method

By utilizing the lost wax method

Taton's sculptures are single piece editions

Taton Exhibition

 For the last several years Taton's work has been exhibited

at the Thermae Palace during the month of August.

We bring this celebration of his work from across the globe

with a simultaneous exhibition in Seattle.

Marcel Taton knows no borders.

When it comes to his inventive urge for renewal

within his own ever recognizable art form.

 His art is figurative, Surrealistic and much humor ensues.

 His sculptures are unique and almost leap into the beholders eye.

 When a flea market Taton visits and finds a strange object to craft

into his imagination arises the link to his creative spirit
and the doors open wide

into his sculpture arsenal.

 Taton's specific idea regularly to his choice of titles suggest all which relates to the point

as a visible reality the viewer experiences in his irony and fantasy.

His work is treasured by collectors around the world. 

Jean Louis Corby - Geometrical Elegance

It is through the cohesion of movement and mind
that the Corby figures adorn themselves with
a geometrical elegance that induces their feelings

  

From his studio, the sculptor Corby
discreetly observes the great human
fraternity.

Attentive to everything, he
analyzes physical and moral behavior and
adapts the plastic of movement to human
psychology. Better than a long speech,
through the work of volumes and shapes,
his hands sculpt a figure always the same,
stateless, active, avid for existence.

It is
through the cohesion of movement and
mind that the Corby figures adorn
themselves with a geometrical
elegance that induces their feelings.

It is also through a technique that is
willfully rigorous, direct and precise that

Corby concretizes uncertainty,
unhappiness, joy and suffering both
great and small.

His figures assert themselves as human,
sincere, realist and very present. With
no possible hesitation, we all recognize
ourselves, man or woman, no matter, it is
the same story with the same existential
concernal.

Beyond this delicately portrayed
sensitivity, the immobility and silence
so characteristic of statures are felt not
as petrifaction of body and soul but as a
message of tolerance and humanity.

His art, resolutely figurative, testifies with
a sure hand by sculpting the “right words”
of life, without pointless embellishment.

Corby leads us to discover ourselves as in a
mirror pierced by remembered tenderness.
From earth and bronze, mind and flesh, his
figures revive an astonishing curiosity in
ourselves while awakening in us all
numerous echoes and memories.

With the door of his studio always open on
the world, Corby passionately sculpts the
profound values of existence.

Odile Kinart - My Boats Don't Have Oars

My sculptures are spectators or dancers




I want to express serenity, harmony, and light humor. My sculptures are spectators or dancers who dance the dance of life; they are more like Buddha’s. But in fact I am a workaholic, passionate and restless, longing for calm.



My boats don’t have oars




My figures are all at rest. The attributes are beds, chairs, sofas, baths or swings. My boats don’t have oars. They sail along with the current, in harmony with the elements, with life itself. The names of my sculptures often refer to quiet times: timeless, time lost, time off ... just sitting there ... listening to the summer rain ...




The form is just as important as the content




The same theme will turn into a tear-jerker in one poem and can become quite moving, universal or poetic in another. The difference isn’t in the subject, but in the choice and dosage of both words and breaks. Volumes and form tension are important visual art aspects.



I attach a great deal of importance to traditional aspects

I feel the traditional aspect of art is very important. All the vagueness and pretence surrounding art irritates me. A chair designed in pure lines and carefully built is just as much like art to me, as can be the case with cooking.


Accessible Art


I am particularly inspired by pre-Columbian art and the old African wooden sculptures you can admire in the Tervuren museum. I find ethnic art very appealing, as it’s so simple, almost child-like, but very expressive. The sheer joy which has gone into making these sculptures is very evident. I am also a great admirer of Art Brut, of the works of art produced by psychiatric patients, like the ones on display at the Gent Museum Dr Guislain, and of children’s drawings. I also love allotment gardens, with buxus and taxus pruned into dragons and animals. Yes, I know, we are now on the very edge of kitsch, but this is only a word, just like the ugly words artist and intellectual.



The words love and god are also in the top five of ugly words.

Jorge Marin - The Body as a Landscape

With over 25 years of artistic work, he has successfully entered into Mexico's artistic scene and has become a representative of figurative international sculpture.

Marin’s remarkable career has included over 150 exhibitions in Latin America, North America and Europe.

The sculptures of Jorge Marin reflect in bronze the intrinsic strength and force that emanates from its creation and permits him to construct dynamic bodies, full of movement, which challenge gravity and rotate in space supported on one point.

 There is a constant subject in Jorge Marin’s sculpture, which is the body as an entity containing the spirit, always appearing in the splendor of its physical state. The being is always explained by what contains it, the body.

Today, the body is conceived more as a space than an object in and of itself. It is the scenario of the human struggle as well as its synthesis and its memory. Thus, the human figure narrates humanity’s own becoming, and the body is, after all, simply landscape.

His work also represents the struggle between the coldness of bronze and the diverse emotions that his subject's evocate: the perfect balance of the equilibrists and his winged figures has become his particular seal. While it is true that his series of bodies tends to be based on the triumph of their acrobatic postures, metaphorically these bodies are speaking and surrendering to the temptation of risk and the prophecy of failing and falling down from this dubious paradise in which we live.

Another notable trait in his work is the mask, an attempt to depersonalize his sculptures and become another medium of expression of a body that contains universal symbols in itself.

“My artistic proposition follows my vision and perception of the world, how I interpret it and how I see it. From there, I dealt diverse topics, always related to the people of the 20^th and 21^st century, that is to say contemporary. It is also possible to say that they are questions of the man of all the times – as the paternity, the game, the balance, the fear, the love, the hatred, etc.”

He currently exhibits "Wings of a City" in Mexico City, which opened in 2010, and another of his exhibits, "The Body as a Landscape", has been shown in museums and galleries throughout Europe since 2011, including Paris, Madrid, Lisbon, Istanbul, Berlin, Brussels Budapest, Timisoara, and will be shown in St Petersburg and Brussels .  His work is currently on permanent exhibition at R E Welch Gallery in Seattle.