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Spring Elephant is a mixed media sculpture from series "Salammbô. Le royaume perdu", based on French novelist Gistave Flaubert's historical novel "Salammbô". This is one of four elephant heads, dedicated to elephants which were used in ancient Carthage as heavy armed living tanks. Using a technique form marionette theater, the elephant floats in the air, hanged in strings. It can be exposed in space in sleeping position or worn as a carnival accessory. The great French writer Gustave Flaubert (1821-1880), whose 200th anniversary was celebrated on 2021, also goes to Carthage to seek refuge - in this case from the uproar caused by his previous novel "Madame Bovary". Flaubert travels around North Africa, thoroughly gets to know the testimonies of historians, orientalists and archaeologists of his time; more than four years of studies culminate in a novel centered on the mercenary revolt in Carthage (240-238 AD) between the First and Second Punic Wars, as well as the femme fatale, the warlord Hamilcar Barca's (died around 228 AD) daughter Salammbô, priestess of the goddess Tanita. An inextricable tangle of passions is intertwined around her. Curator of the exhibition: Ilze Andresone Photos from the exhibition: Ivars Puķe
Sculpture:Textile on Paper
Size:13 W x 47.2 H x 16.5 D in
Ready to Hang:No
Packaging:Ships in a Box
Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
My love for printed words is so strong that I make paintings and sculptures from orphaned books. I add different sorts of paper, textile fiber and found objects and treat this mixture as if it was a marble mine. I regard all human-made commodities as the raw material of the 21st century, they add opulence, playfulness and weirdness to my objects. My sculptures are hybrids - installations, huge marionettes and idol figures. I overcome gravity using a technique from marionette theater. Sculptures float in air and strings make them alive. I paint because I'm volatile. I catch all my demons and fears with a brush, so they are not threatening anymore. I'm hesitant, that's why I paint portraits in real time. Models don't have to speak. Sometimes I lay paintings in a horizontal plane, like huge rolls of parchment. The public can touch it, walk and crawl on it, contemplating the importance of daily grounding. I'm a mystic. I borrow deities and create semisacred, eerie spaces where sculptures, paintings, words and animation merge in a numinous, baroque amalgam. I love the tactile. My objects are sensuous to touch. I love word constellations, so there are collections of short stories to accompany the visual work. In a courageous mood, I transform stories into puppet performances and collaborate with theaters and musicians.
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