FERNANDEZ ARMAN (1928-2005) Picnic, c. 1981-1983. Accumulation of forks welded together on a steel frame, wall relief. Signed (engraved) in the lower right 'Arman'. A unique and original piece. This work is recorded in the Arman Studio Archives New York under number: APA# 8020.83.004. Provenance: Christian Fayt Art Gallery, Knokke-Heist (exh. cat. 17.3-23.4.1984, cat. no. 30). Armand Fernandez grew up as the son of an amateur artist in Nice. After studying philosophy and mathematics, he received his artistic training at the École Nationale d'Arts Décoratifs in Nice and L'école du Louvre in Paris. In his early years as a painter, he pursued abstraction and his work was thereby influenced by Serge Poliakoff and Nicolas de Stael. Later, inspired by the German Dadaist Kurt Schwitters he started to create more experimental artwork. Arman developed his most recognisable style during the period from 1959 to 1962. In 1960, he was affiliated with the establishment of the new artists' group Nouvéau Realisme, which included Yves Klein César and later also Nikki de Saint-Phalle and Christo. This group turned its back on traditional painting: "The new realists see the world as a painting, a large fundamental of which they wish to appropriate essential fragments ..." reads their manifest.The concepts of "accumulation" and "poubelle" played thereby a prominent role in Arman's oeuvre. In his well-known assemblages, he reflects on transformations within society such as the rise of both current mass production and mass consumption, by making compositions of discarded utensils that visibly recalled the readymades of Marcel Duchamp The term "Poubelle", as the name suggests, referring to art in the form of scattered waste. In Arman's later works, his so-called Colères, he equally experimented with the destruction of objects such as musical instruments and typewriters. In the present wall relief made of soldered forks, we recognise his typical assemblage style and yet also a flatness that reminds us of his earlier work. Although made around 1983, the work carries a powerful message even in a contemporary light. In 2021, in an age characterised by take-away forks that are sometimes ruthlessly left in nature after a picnic, reflecting on mass production and our disposable culture is no less relevant. Dimensions: 168 x 128 x 10 cm
FERNANDEZ ARMAN (1928-2005) Picnic, c. 1981-1983. Accumulation of forks welded together on a steel frame, wall relief. Signed (engraved) in the lower right 'Arman'. A unique and original piece. This work is recorded in the Arman Studio Archives New York under number: APA# 8020.83.004. Provenance: Christian Fayt Art Gallery, Knokke-Heist (exh. cat. 17.3-23.4.1984, cat. no. 30). Armand Fernandez grew up as the son of an amateur artist in Nice. After studying philosophy and mathematics, he received his artistic training at the École Nationale d'Arts Décoratifs in Nice and L'école du Louvre in Paris. In his early years as a painter, he pursued abstraction and his work was thereby influenced by Serge Poliakoff and Nicolas de Stael. Later, inspired by the German Dadaist Kurt Schwitters he started to create more experimental artwork. Arman developed his most recognisable style during the period from 1959 to 1962. In 1960, he was affiliated with the establishment of the new artists' group Nouvéau Realisme, which included Yves Klein César and later also Nikki de Saint-Phalle and Christo. This group turned its back on traditional painting: "The new realists see the world as a painting, a large fundamental of which they wish to appropriate essential fragments ..." reads their manifest.The concepts of "accumulation" and "poubelle" played thereby a prominent role in Arman's oeuvre. In his well-known assemblages, he reflects on transformations within society such as the rise of both current mass production and mass consumption, by making compositions of discarded utensils that visibly recalled the readymades of Marcel Duchamp The term "Poubelle", as the name suggests, referring to art in the form of scattered waste. In Arman's later works, his so-called Colères, he equally experimented with the destruction of objects such as musical instruments and typewriters. In the present wall relief made of soldered forks, we recognise his typical assemblage style and yet also a flatness that reminds us of his earlier work. Although made around 1983, the work carries a powerful message even in a contemporary light. In 2021, in an age characterised by take-away forks that are sometimes ruthlessly left in nature after a picnic, reflecting on mass production and our disposable culture is no less relevant. Dimensions: 168 x 128 x 10 cm
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