Incubus' Choice


Grace and Beauty (Jay Greenman)

Women: Sculptures


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Cornelia Hammans

Thick bodies with round and dense shapes, body parts with missing limbs but strangely sensuous which cuttings with rounded and soft angles let us forget the absence of the limbs and give it a dreamlike dimension, tender density of bronze patined by the desire of stroke it arouses.

Tegernsee, Bavaria, Germany


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Cornelia Hammans

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Gérard Bignolais
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Extreme realism of the body representation in its everyday life, even more extensive when staged in hospital or delivery rooms installations, the body cast as done by Gérard Bignolais finally questions the fact of being a human being, life’s fragility and everyday nature opposed to the sculptures’ nudity.

Antony, Île-de-France, France


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Gérard Bignolais

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Alain Vulliermet
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Smooth and tender roundness of sensual curves, sculpted panels between naïf art and cutting of the bodies to keep of them a fragmented vision, raw geometry of the silhouettes in superimposed agglomerate layers, simplification of the lines to refine the shape and isolate the active ingredient of feminity in a volume of sweetness.

Roanne, Rhône-Alpes, France


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Alain Vulliermet

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Marie-Thérèse Tsalapatanis

Marie-Thérèse Tsalapatanis’ women have the large hips and thighs of primitive figures, and the slim and slender bust, arms and neck of a lighter feminity, rooted at the same time in an ancient representation linked to fecundity like an allegory of the gravity that deforms the silhouette and attracted by a new lightness that stretches them away from the ground in a more slender and ethereal vision, even more highlighted by the strong angles that change into more sensual curves along the figure.

Valenton, Île-de-France, France


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Marie-Thérèse Tsalapatanis

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Louis Brachet

Slender lines with disconcerting verticality, generous curves of the thighs like a reminder of the gravity or emblematic figure of fecondity, the arms slipped in the back to reveal the majesty of the silhouette, sitting women with strangely carnal shapes spindly in places, frozen dance in curves and arabesques, as if the steel was flowing in the movement, was not existing any more but only by its patina and its sheen.

Ventavon, Provence-Alpes-Côte d’Azur, France


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Louis Brachet

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Dominique Regnier

Of those pieces of raw stone, of those marbles and white, grey or pink limestones, emerge those shapes which softness and curves truly transfigure the mineral and captivate the eye as the hand that cannot refrain from holding out to caress the sheen and appreciate the density of that petrified and yet so alluring flesh. What can be said then of those wood sculptures, ash, walnut and cherry woods, which we already feel the warmth and the grain in our palms, which we stroke the lingerie and laces while holding irrepressible sighs, which transparencies make us quiver? Is it still art moving us, or already a spell we greet rapturously?

Souillac, Midi-Pyrénées, France


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Dominique Regnier

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Suzanne Chan
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The lightness and fragility of her lumiformes, sensuous torsos in papier-mâché which translucence is lit from within, make of those sculptures of light combining images, words and forms one of the more refined representation of the senses’ evanescence. In another style, Black and White and rock-textured photographies blend softness and harshness together, witnessed only by the eyes, giving like a loss of perception, the touch denying what’s imagined by the eye.

Montreal, Quebec, Canada


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Suzanne Chan

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Alain Guillotin

Hard and prominent angles superimosing themselves to the curves, aggressive sensuality imposing itself, abstraction of the shape in strong volumes that sometimes extricate themselves from the raw material, density of bronze and stone, original and primitive inspiration of fertility in broad thighs and big busts.

Île-de-France, France


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Alain Guillotin

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Claude Beaucé

The warmth of wood and the roundness of curves, the desire to caress those pieces, the lightness that comes out of them, like those motionless yet moving veils, as if the imagination took flight to the sheer shape of desire and sensuality, with at the same time the mystery of texture and density.

Marseille, Provence-Alpes-Côte d’Azur, France


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Claude Beaucé

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Bernard Kapfer

A corpus feminae that adds angles to curves, altering the shape to extract a meaning from it with a hardness at the same time unfinished and perfect, fair balance enabling to go further in the expression, between figurative abstract and expression of feelings, with purely geometric faces giving to the body and its gesture the whole speech load, and drawings too, with exceptional strength and energy.

France


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Bernard Kapfer

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