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Sculpture50.0 x 10.0 x 10.0 cm?
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$2,740.00
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More Works by Etienne Eczet
Etienne Eczet
The drawings of Etienne Eczet are the images of a world in perpetual mutation, fixed and moving at the same time. It is the very place of the sensitive where the pure beauty of the human figure rises. The body as the expression of an insoluble artistic truth. The drawing reveals the marvelousness of a solid classical formation, Etienne Eczet follows the courses of the sculptor Charles Auffret of which he is the last student. A graduate of the National School of Decorative Arts in Paris, he receives numerous prizes and obtained a two -year residence at Casa Velasquez in Madrid in recognition of his sensitive work to the powerful invoice. Prolific and obstinate artist, Etienne Eczet His inspiration in his immediate daily life: "The drawing reveals the marvelous which is shirking in the ordinary, and the sculpture in extracts the essential. »& Nbsp; Open work on the world attaché to manual know-how and material, Etienne Eczet readily experiments with materials and processes. His research on style leads to an intuition that radically modifies the way of perceiving African statuary. In collaboration with his brother Jean-Baptiste, Africanist anthropologist, Etienne Eczet writes an article on the subject. Writing them receives the prize for publications from the Musée du Quai Branly in 2017. & nbsp; earlier, the discovery of the Dogon statue at the Peggy Guggenheim Foundation in Venice provokes the artist a desire to assert his gaze, and find the 'balance between tradition and contemporaneity. “I found where sculpture and painting starts for me, I then decide to devote all my time to my work" writes the artist. Nouvelles research and interest in digital painting his sculptures and his drawings, Etienne Eczet present on Kazoart his powerful and sensual digital impressions. & Nbsp; fascinated by light, the artist recently imagined an original process which allows him to enhance the light and chromatic effects using contemporary techniques.
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