Sculpture - Cement, wood, Bic, duck, metal, lamp, hammer, glass, fabric, bullets,
- 60,5 x 30 x 44 cm
Exhibition "Jan Fabre - 30 years / 7 Rooms - Room III - Shelter-studios" Deweer Gallery, Otegem 2015 "Jan Fabre - The Hour Blue & Thinking Models" Deweer Gallery, Otegem 2016 "Jan Fabre - Kijkdozen, Denkmodellen en Tekeningen 1977-2008" Deweer Gallery, Otegem 2017, p. 206-209 ill. With photo certificate by the artist Documentation BOMB SHELTER-STUDIO Bomb shelters recall images of hidden, somewhat sinister spaces built to protect people from a hostile outside world. Jan Fabre made them into miniature versions. Sculptural dioramas and utopian paradigms depict his inexhaustible imagination. The small model requires careful observation. We discern numerous topics from his oeuvre, from the beauty of scarabs, metaphors for survival and resurrection, to silk cocoons in which a metamorphosis takes place, to human bones displayed as archaeological artifacts. The artist's ballpoint pen signature is also present in the bomb shelters. Objects are carefully colored with Bic ink, referring to the moment when nocturnal animals go into sleep and day animals awaken, known in Fabre's jargon as The Blue Hour'. The shelters show different aspects of Fabre, from scientist to resistance fighter to dreamer and eternal beauty seeker. These paradigms of bomb shelters are vital in Fabre's oeuvre. Furthermore the dioramas of shelter-studios provide a particularly intimate glimpse into the brain of the master, of his passionate thoughts to his endless imagination.
Sculpture - Cement, wood, Bic, duck, metal, lamp, hammer, glass, fabric, bullets,
- 60,5 x 30 x 44 cm
Exhibition "Jan Fabre - 30 years / 7 Rooms - Room III - Shelter-studios" Deweer Gallery, Otegem 2015 "Jan Fabre - The Hour Blue & Thinking Models" Deweer Gallery, Otegem 2016 "Jan Fabre - Kijkdozen, Denkmodellen en Tekeningen 1977-2008" Deweer Gallery, Otegem 2017, p. 206-209 ill. With photo certificate by the artist Documentation BOMB SHELTER-STUDIO Bomb shelters recall images of hidden, somewhat sinister spaces built to protect people from a hostile outside world. Jan Fabre made them into miniature versions. Sculptural dioramas and utopian paradigms depict his inexhaustible imagination. The small model requires careful observation. We discern numerous topics from his oeuvre, from the beauty of scarabs, metaphors for survival and resurrection, to silk cocoons in which a metamorphosis takes place, to human bones displayed as archaeological artifacts. The artist's ballpoint pen signature is also present in the bomb shelters. Objects are carefully colored with Bic ink, referring to the moment when nocturnal animals go into sleep and day animals awaken, known in Fabre's jargon as The Blue Hour'. The shelters show different aspects of Fabre, from scientist to resistance fighter to dreamer and eternal beauty seeker. These paradigms of bomb shelters are vital in Fabre's oeuvre. Furthermore the dioramas of shelter-studios provide a particularly intimate glimpse into the brain of the master, of his passionate thoughts to his endless imagination.
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