TOTEMS BY CAROLINE BIA

The main experimental focus here is the tuning of these orthogonal chromatic spaces, obtained by measuring and matching colours, shapes and lines.

The observer’s mobile position makes it possible to observe the different interactions between colours, depending on the angle from which they are observed. The intensity of the colours here leaves no rest for the eye, nor for any attempt at definitive fixation.

 

 

Details

Model : TOTEMS

Designer : CAROLINE BIA

Period : 2018

Origin : BELGIUM

Dimension : H = 126 cm

Materials : Acryl on wood

 

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VIENS, VOIS ET VA BY MIREILLE ROOBAERT

Professional photographer, graduated from the Saint-Luc Liège School in 1994, Mireille is now a photographer specialized in architectural, portrait and culinary reportage. Versatile too. She also works in studio for packshots, web commerce or image creation according to request.

Mireille Roobaert have more than twenty years of experience and partnership with decoration magazines around the world, communication agencies, architects’ offices, construction companies. She photographs with an experienced and quick eye and knows the expectations of architects, decorators, designers, institutions, real estate agencies, editors, communication agencies or any other client.

“My job as a photographer is no less artistic, apart from my shootings and the hours spent in post-production in my office, I have a personal photographic approach exposed in the gallery.”

 

MIREILLE

 

Details

Model : VIENS, VOIS ET VA

Designer : MIREILLE ROOBAERT

Origin : BELGIUM

 

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FOXFALL BY GHISLAIN AND MARIE DAVID DE LOSSY

Ghislain and Marie David de Lossy modus operandi transcends the nature photographic genre and traditional techniques. Displaying 40 photographic images taken over the course of several trips throughout Europe encompassing Finland, Iceland and Spain, their images offer a unique and unusual outlook on the animal world and nature.

The contemplative viewer is required to scan the landscape for the animal, as it is not readily apparent, regardless of its actual size. The viewer’s eyes sweep the vast panorama (3 meters plus in length) from one end to the other interrogating and ultimately losing themselves in the intense detail.

Despite the incredible precision and clarity, there is something surreal about the natural environment shown in these photos.  In this paradox lies the magic of Marie and Ghislain David de Lossy’s artworks.  At the origin ot this sleight of hand lies a unique shooting technique that consists of freezing the focal point, speed, diaphragm and the distance from where the animal is initially photographed before reproducing and reconstructing the surrounding landscape.  Each one  is realised by reuniting 100 to 150 shots.  One of those shots is a single image of the “subject”, reintegrating the animal in its original environment.

Using digital data, their photos (each several billions of pixels rich) reveal perplexing details that cannot be seen through the actual telephoto lenses.  This is shown by, for instance, a gnat colony still flight right under the nose of a bear that is just coming out of the forest.
This new approach to nature, both macro and microscopic, blurs the border between reality and fiction.  It is between these two worlds that we find the certain poetic quality of their artwork.  The telephoto effect breathes the viewer right into the middle of the landscape, turning us into image hunters.  Lost in the vast wilderness we can, strangely enough, see the invisible.  Rich colours add to the supernatural aspect of the setting and excite our imagination.  Nature thus sublimaged seems to harbour unexpected guests : elves and fairies, ready to colonise the banks of the lead-coloured lake.

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GM David de Lossy

 

Details

Model : FOXFALL

Designer : GHISLAIN AND MARIE DAVID DE LOSSY

Period : 2017

Origin : BELGIUM

Dimension : 140 cm x 70 CM

 

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CONTENIR LE VENT BY BRIGITTE MARIONNEAU

Brigitte Marionneau is a French ceramist, born 1958 in Anger. No matter how plain it may be, in her work lines are never hard or dead. Quite the opposite, they are touched by a vibrant firmness, a breath, betraying the ceramist’s constant desire to elevate the material to the heavens.

BRIGITTE MARIONNEAU

Courtesy of Modern Shapes

 

 

Details

Model : CONTENIR LE VENT

Designer : BRIGITTE MARIONNEAU

Period : 2018

Dimension : H 25 X W 20 X D 10 cm

 

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GLASS AND CONCRETE SCULPTURE BY HARRY MORGAN

Harry’s work is known for its unusual marrying of materials and experimental approach to traditional process. Referencing ancient techniques and histories such as Venetian glassblowing and Brutalist architecture. He challenges the connotations behind the materials. Despite being composed of the same elements, glass and concrete appear as conflicting materials. Glass reflects ambiguity and intangibility. In sharp contrast, concrete is brutally physical. He may be an emerging artist since graduating from Edinburgh College of Art with a first-class degree in Glass; nevertheless, his work and talent has already been acknowledged worldwide. He has been exhibited in countries such as Sweden, Dubai and the United States and has won several awards such as the Award for Emerging Talent at the 2015 British Glass Biennale and a Graduate Craft Award at the 2016 Scottish Craft Awards.

The use of glass in my work draws inspiration from the ancient Venetian glassblowing technique, murrine; where each rod or thread of glass is individually pulled by hand from a furnace. The glass is then arranged into a sequential structure and cast within concrete or precious metal, which binds them as one object. Im interested in applying these traditional skills in alternative directions.

Harry Morgan, 2017.

 

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Picture by Shannoin Tofts Photography

Courtesy of Modern Shapes

 

Details

Model : GLASS AND CONCRETE SCULPTURE AND WITHE CYLINDRAL SCULPTURE

Designer : HARRY MORGAN

Period : 2018

 

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ZAIRA BY DAVID UMEMOTO

The work of David Umemoto exudes mystery, stimulates the imagination, but at the same time gives a sense of reflective discipline. In the twilight zone between sculpture and architecture, these pieces evoke the feeling of temporary buildings and monuments.

Concrete sculpture in limited numbered edition of 3.

DavidUmemoto ZAIRA

 

Courtesy of Modern Shapes

 

Details

Model : ZAIRA

Designer : DAVID UMEMOTO

Period : 2018

Dimension : H 62 x W 25 x D 25 cm

 

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YEUX DE SORCIERE BY XAVIER LE NORMAND

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Xavier Le Normand blows glass and extracts from the burning mass organic forms. A central depression signs most of his works. It focuses the light, grabs it on the surface of the glass. The sculptor then cuts the glass cold. It reveals the different colored layers (overlays) or creates a network of repetitive patterns. Static landscapes appear on the surface of the glass. Xavier Le Normand plays with the translucency of glass often hidden from view. It is only observed at the limits of volume: between two layers of glass or on the surface of a silver. The artist often gives his material a deep opacity that invites touch. In his art, he confronts the immediacy and perpetual movement of blowing the burning glass faced to the time invested when he reworks and resculpts the cold glass. The artist feeds his never-ending inspiration from his many travels throughout the world, where he encountered the very best, such as Monica Guggisberg & Philippe Baldwin. His sculptures seem like imaginary geographies, crossed by strange rivers or volcanoes; unknown gassy planets; multi-colored spheres that fascinate the viewer. In 2009, Xavier le Normand was laureate of the prestigious “Prix Liliane Bettencourt pour l’Intelligence de la Main”.

Courtesy of LKFF gallery

 

Details

Model : YEUX DE SORCIERE

Designer : XAVIER LE NORMAND

Origin : FRANCE

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SOUP PLANT BY MARKUS HOFER

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The manifestations of Markus Hofer’s works can be extremely different. However, it is the constantly resurfacing thematic approaches such as place, time and material, that permeate the work and reach us packaged as humor, irritation and variation.

Everyday objects are modified by specific interventions so that viewing these things leaves us in doubt of the circumstances of reality. It is only for a short time, but it is exactly this moment of irritation that is an essential component in Markus Hofer´s objects.

Answering the question how our perception determines our reality, and thus becoming one of the foundations of our existence, succeeds by constantly dismissing the most obvious association.

So, for example, in Hofer’s work a chair is not a chair, but perhaps a plant or another object, whose function is not immediately revealed.

Courtesy of LKFF

 

Details

Model : SOUP PLANT (BLUE)

Designer : MARKUS HOFER

Origin : AUSTRIA

Material : Metal , mastic , painting

 

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LITTLE CAN BY MARKUS HOFER

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The manifestations of Markus Hofer’s works can be extremely different. However, it is the constantly resurfacing thematic approaches such as place, time and material, that permeate the work and reach us packaged as humor, irritation and variation.

Everyday objects are modified by specific interventions so that viewing these things leaves us in doubt of the circumstances of reality. It is only for a short time, but it is exactly this moment of irritation that is an essential component in Markus Hofer´s objects.

Answering the question how our perception determines our reality, and thus becoming one of the foundations of our existence, succeeds by constantly dismissing the most obvious association.

So, for example, in Hofer’s work a chair is not a chair, but perhaps a plant or another object, whose function is not immediately revealed.

Courtesy of LKFF

 

Details

Model : LITTLE CAN (GREEN)

Designer : MARKUS HOFER

Period : 2018

Origin : AUSTRIA

Material : Metal , mastic , painting

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THE MIDDLE BY MARKUS HOFER

The manifestations of Markus Hofer’s works can be extremely different. However, it is the constantly resurfacing thematic approaches such as place, time and material, that permeate the work and reach us packaged as humor, irritation and variation.

Everyday objects are modified by specific interventions so that viewing these things leaves us in doubt of the circumstances of reality. It is only for a short time, but it is exactly this moment of irritation that is an essential component in Markus Hofer´s objects.

Answering the question how our perception determines our reality, and thus becoming one of the foundations of our existence, succeeds by constantly dismissing the most obvious association.

So, for example, in Hofer’s work a chair is not a chair, but perhaps a plant or another object, whose function is not immediately revealed.

Courtesy of LKFF

Details

Model : THE MIDDLE (RED)

Designer : MARKUS HOFER

Period : 2019

Origin : AUSTRIA

Material : Metal , mastic , painting , porcelain

Price Request