Mon Hom Sculpture - Limited Edition of 12

Nathalie Miquel was born in Paris in 1959. She lives between Paris, Aubrac and Barcelona. It was in Paris, at the Met de Penninghen school and then at the Union Centrale des Arts Décoratifs, from which she graduated, that she discovered nude work, a material that became obvious to her and that she has never ceased to cherish. It is in Aveyron, and on the Aubrac plateau, her family's stronghold where she works most of the time, that she draws her creative energy, in the heart of this nature made up of remote and wild spaces. Since 2004, she has devoted herself fully to her passion for form and material, for the expression of the human body. Her sensitive, instinctive work, always in search of the essential, is quickly gaining recognition. In her sculptural approach, as in her drawings, Nathalie Miquel's quest for simplicity is evident. "I'm inhabited by a body, I feed off it, then reject it. There's something vital about producing a work of art, like expressing a feeling, an emotion when faced with a body that overwhelms us and that we draw to grasp, to make our own. So, it's essential to render it, at last, in order to exist oneself." Seize the volume and, through the line, keep only the sap, the symbolic movement that by itself expresses all the magic of an ephemeral happiness. "Beyond harmonious proportions, I like to reveal the strength of a movement, the grace of an attitude and all the sensuality of a body. I have to work fast and concentrated to capture and render with force what the model reflects back to me." Purity, always more, to find the right sign, accessible, universal. Sculpture is a natural extension of his pictorial work. It's this slow digestion that restores the human body but suggested with all the force of a movement or attitude. Bronze sculptures created using the lost-wax technique. Mineral patinas, between blue and gray, with the strength of stone and the grace of clay. A set of legs, a bust, a hip that take shape... There are the curves that impose themselves on us, and the counter-curves that call us to another view, one that invites us to move, to turn around a piece, to understand its meaning.