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What/who inspired the work? This work is inspired by the concept of the same name, which references the widespread motif popular in the religious, mythological, and philosophical principles of a variety of cultures. What do you hope its viewers will feel/think? By incorporating nude female figures into the tree, I would like viewers to consider women’s intricate connection to the making and sustaining of life. Indeed, I render the women as inextricably linked to the trunk, barely discernable from the bark itself. The extended tree branches, some morphing from the figures’ arms and hair, function as a kind of headpiece, ennobling the women for their essential role in the evolutionary process. The visual interconnectedness of the tree and the women duly reminds us, however, that, as natural organisms, they share, not only the force of life, but the fragility of life as well. Why did you choose the medium, subject matter, style? The medium of sculpture enables the piece to be viewed from all vantage points, with no conventional front or back. As such, the sculpture demonstrates a visually powerful silhouette at every turn, in which the women’s soft and feminine anatomy complements the branches’ rigid, expansive structure of positive and negative space.
What/who inspired the work? This work is inspired by the concept of the same name, which references the widespread motif popular in the religious, mythological, and philosophical principles of a variety of cultures. What do you hope its viewers will feel/think? By incorporating nude female figures into the tree, I would like viewers to consider women’s intricate connection to the making and sustaining of life. Indeed, I render the women as inextricably linked to the trunk, barely discernable from the bark itself. The extended tree branches, some morphing from the figures’ arms and hair, function as a kind of headpiece, ennobling the women for their essential role in the evolutionary process. The visual interconnectedness of the tree and the women duly reminds us, however, that, as natural organisms, they share, not only the force of life, but the fragility of life as well. Why did you choose the medium, subject matter, style? The medium of sculpture enables the piece to be viewed from all vantage points, with no conventional front or back. As such, the sculpture demonstrates a visually powerful silhouette at every turn, in which the women’s soft and feminine anatomy complements the branches’ rigid, expansive structure of positive and negative space.
What/who inspired the work? This work is inspired by the concept of the same name, which references the widespread motif popular in the religious, mythological, and philosophical principles of a variety of cultures. What do you hope its viewers will feel/think? By incorporating nude female figures into the tree, I would like viewers to consider women’s intricate connection to the making and sustaining of life. Indeed, I render the women as inextricably linked to the trunk, barely discernable from the bark itself. The extended tree branches, some morphing from the figures’ arms and hair, function as a kind of headpiece, ennobling the women for their essential role in the evolutionary process. The visual interconnectedness of the tree and the women duly reminds us, however, that, as natural organisms, they share, not only the force of life, but the fragility of life as well. Why did you choose the medium, subject matter, style? The medium of sculpture enables the piece to be viewed from all vantage points, with no conventional front or back. As such, the sculpture demonstrates a visually powerful silhouette at every turn, in which the women’s soft and feminine anatomy complements the branches’ rigid, expansive structure of positive and negative space.
What/who inspired the work? This work is inspired by the concept of the same name, which references the widespread motif popular in the religious, mythological, and philosophical principles of a variety of cultures. What do you hope its viewers will feel/think? By incorporating nude female figures into the tree, I would like viewers to consider women’s intricate connection to the making and sustaining of life. Indeed, I render the women as inextricably linked to the trunk, barely discernable from the bark itself. The extended tree branches, some morphing from the figures’ arms and hair, function as a kind of headpiece, ennobling the women for their essential role in the evolutionary process. The visual interconnectedness of the tree and the women duly reminds us, however, that, as natural organisms, they share, not only the force of life, but the fragility of life as well. Why did you choose the medium, subject matter, style? The medium of sculpture enables the piece to be viewed from all vantage points, with no conventional front or back. As such, the sculpture demonstrates a visually powerful silhouette at every turn, in which the women’s soft and feminine anatomy complements the branches’ rigid, expansive structure of positive and negative space.
What/who inspired the work? This work is inspired by the concept of the same name, which references the widespread motif popular in the religious, mythological, and philosophical principles of a variety of cultures. What do you hope its viewers will feel/think? By incorporating nude female figures into the tree, I would like viewers to consider women’s intricate connection to the making and sustaining of life. Indeed, I render the women as inextricably linked to the trunk, barely discernable from the bark itself. The extended tree branches, some morphing from the figures’ arms and hair, function as a kind of headpiece, ennobling the women for their essential role in the evolutionary process. The visual interconnectedness of the tree and the women duly reminds us, however, that, as natural organisms, they share, not only the force of life, but the fragility of life as well. Why did you choose the medium, subject matter, style? The medium of sculpture enables the piece to be viewed from all vantage points, with no conventional front or back. As such, the sculpture demonstrates a visually powerful silhouette at every turn, in which the women’s soft and feminine anatomy complements the branches’ rigid, expansive structure of positive and negative space.

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TREE OF LIFE Sculpture

ZAAN CLAASSENS

Canada

Sculpture, Bronze on Bronze

Size: 23.6 W x 33.5 H x 19.7 D in

Ships in a Crate

SOLD
Originally listed for $9,300

48 Views

2

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ABOUT THE ARTWORK

What/who inspired the work? This work is inspired by the concept of the same name, which references the widespread motif popular in the religious, mythological, and philosophical principles of a variety of cultures. What do you hope its viewers will feel/think? By incorporating nude female figures into the tree, I would like viewers to consider women’s intricate connection to the making and sustaining of life. Indeed, I render the women as inextricably linked to the trunk, barely discernable from the bark itself. The extended tree branches, some morphing from the figures’ arms and hair, function as a kind of headpiece, ennobling the women for their essential role in the evolutionary process. The visual interconnectedness of the tree and the women duly reminds us, however, that, as natural organisms, they share, not only the force of life, but the fragility of life as well. Why did you choose the medium, subject matter, style? The medium of sculpture enables the piece to be viewed from all vantage points, with no conventional front or back. As such, the sculpture demonstrates a visually powerful silhouette at every turn, in which the women’s soft and feminine anatomy complements the branches’ rigid, expansive structure of positive and negative space.

DETAILS AND DIMENSIONS
Sculpture:

Bronze on Bronze

Original:

One-of-a-kind Artwork

Size:

23.6 W x 33.5 H x 19.7 D in

SHIPPING AND RETURNS
Delivery Time:

Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.

I was born in South Africa in 1970. As a child we moved from Pietermaritzburg to Pretoria to Rustenburg to Jeffries Bay to Stellenbosch to Harare, finally settling in Cape Town. I spent my last year of school in Oxford, Ohio as an exchange student and then returned to Stellenbosch, where I completed a BA Degree in Graphic Design. For the next decade I lived in Northern Alberta, followed by a couple of years thawing out on the Island of Saipan. Thereafter I returned to South Africa via Ireland, and a few more years in Canada. I currently spend my time between South Africa and Canada. In South Africa I reside next to the Atlantic Ocean in a suburb nestled between the Twelve Apostles, Table Mountain, Lion’s Head and the Ocean. It is truly one of the most beautiful places on the planet. In Canada I live on the North Western Pacific Coast. more to follow....

Artist Recognition
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Artist featured by Saatchi Art in a collection

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