Bernard PAGES (born in 1940) The Ladder,... - Lot 38 - Crait + Müller

Lot 38
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10000 - 15000 EUR
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Result : 14 500EUR
Bernard PAGES (born in 1940) The Ladder,... - Lot 38 - Crait + Müller
Bernard PAGES (born in 1940) The Ladder, 1990 Materials : Cut and stained wood, ceramic, oxidized metal, wood screws, bolts. Tools: wood saw, plane, wood chisel, gouge, mallet, drill, screwdriver, metal drill, wood bit, welding set, air compressor, paint gun, spatula, needle, hammer, spirit level, metal ruler, angle grinder, metal disc, tile saw with diamond disc, belt sander, sanding belt. 240 x 90 x 80 cm PROVENANCE : - Artcurial sale of 21/10/2007. EXHIBITIONS : - Bernard Pagès, drawings and sculptures 1960-1992, Musée Denys Puech, Rodez. - Sculptures-Sculptures, Triade Gallery, Barbizon, 1995. BIBLIOGRAPHY : - Pagès, catalog of the exhibition at the Henri Martin Museum in Cahors and the exhibition at the Matisse Museum in Nice, 1995, 1996. - Bernard Pagès, le chant des possibles, under the direction of Colin Lemoine, éditions Modernes/Ceysson, reproduced pages 202 and 203. "It is a dented, deranged "ladder", picked up from a scrap dealer, which was the starting point. One reads a geometrical organization there but deformed, worked, twisted. The original structure always remains. It is this structure that gives impetus to the rigid and static side of the piece of wood. The ladder itself was left as it was. Its design was perfect and full of flexibility. An almost mathematical and extravagant design at the same time. I added to its elegance a slightly flat shaft, almost a board. It is scented cypress. Its faces are lined with angular fragments of yellow ceramic with blue joints whose design accompanies the movement of the fibers of the heart of the wood with sometimes the lateral escapes of the branches of the original tree. Only the green stained sapwood surrounds this sort of central pillar covered with ceramic. The holes of white tiles are cut by stylized figures of a similar blue to that of the joints. These small sharp signs disrupt the rhythm of the ceramic pavement, which is itself swarming and uncertain. The sculpture required a simple vertical edge of the same nature as the somewhat rambling deployment of the crushed "scale". In contrast to the Blanche Echevelée where the flow of hair was cut in the live according to a vertical cut. The Echelette retains the integrity of the metal elements of various lengths and variously adjusted (nails, keys, screws, lag screws, bolts, in short, the bottoms of workshop drawers). No effort has been made to round it out or soften it. She is jerky without being aggressive. There is something disjointed about Ella, as if she is struggling to become one. It's a sculpture that comes close to the Arrangements, despite its attempt to come together despite everything." Bernard Pagès.
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