YVES CESAR ARMAN

Controller Freak

Mixed media on canvas – 120 x 150 cm I 47 x 59 inches

Fight for Control

Mixed media on canvas – 120 x 150 cm I 47 x 59 inches

Spaced Out

Mixed media on canvas – 120 x 150 cm I 47 x 59 inches

Play Date

Mixed media on canvas – 90 x 130 cm I 35 x 51 inches

Remote City

Mixed media on canvas – 90 x 130 cm I 35 x 51 inches

Habibi

Mixed media on canvas – 120 x 150 cm I 47 x 59 inches

Om

Mixed media on canvas – 120 x 150 cm I 47 x 59 inches

Gamer's Delight

Mixed media on canvas – 120 x 150 cm I 47 x 59 inches

KLASEN

Container bâché bleu

Screen printing, tarpaulin and rope on aluminum panel

130 x 100 cm I 51 x 39 inches

Green car / Red machine with nude

Acrylic on canvas

130 x 97 cm I 51 x 38 inches

Container bâché rouge

Screen printing, tarpaulin and rope on aluminum panel

100 x 130 cm I 39 x 51 inches

BIOGRAPHY

Peter Klasen is a German painter, photographer and sculptor, born in Lübeck in 1935.
A master of contrasts, he is fascinated by the hostility of the modern city and by representations of the body as a commodity.

From 1956 to 1959, Peter Klasen studied at the School of Fine Arts in Berlin, then an avant-garde school. In 1959, winner of the German Industry Patronage Prize, he obtained a scholarship and settled in Paris.

Peter Klasen is, in the 60s, one of the founders of the artistic movement called New Figuration or Figuration Narrative. Then he developed a personal visual language: he explored and reinterpreted the signs of our urban environment and, more generally, of our society. He is interested in images exploited by the mass media and denounces, through his pictorial metaphors, the standardization of the Western living environment.

In the 1970s, Peter Klasen finally found success. He paints his “binary paintings”, based on the opposite representation of a fragment of a human body and an object, painted or integrated, revealing his anguish in the face of the split of the worlds of “being” and “having it”. “. He thus finds a balance between what is sensual, and seems pleasant to him, and what belongs to the industrial world, which he finds repugnant.

SANG

SANG

BIOGRAPHY

The original sculptures of this Korean artist go beyond the limits of the material; the images of the lips can be interpreted as symbols of desire. Relating such symbolic images to symbolic meanings like power and gender clearly shows that the sculptor’s interest is focused on human desires.

“Although everyone desires power, only a few can get it. Power is the symbol of strength and the object of everyone’s wish since it accompanies many interests. Power is strong, scarce, and leads to eternity. However, straw, unlike the properties of power, is a fragile structure accessible to all since it is produced on a large scale and disposable. ”

His mind symbolizes the semantics of relationships and the structure of desires connotes the suffering of reality.

ARTWORKS

FALCONE

Infinity Circle

Led Installation  | 70 x 70 x 11 cm I 27 x 27 x 4 inches

Available

Falcone - Infinity Hexagone Bleu Blanc Rouge

Infinity Hexagone Bleu Blanc Rouge

Neon Installation | 88 x 100 x 11 cm I 34 x 9 x 4 inches

Available

Falcone - Infinity Life is Beautiful

Infinity Life is Beautiful

Neon Installation

Available

Spiral dream

Led Installation | 100 x 100 x 11 cm I 39 x 39 x 6

Available

BIOGRAPHIE

Falcone, 26-year-old artist designer, unveils his first series of works exclusively in the Mickaël Marciano galleries. He positions his creations between experience and contemplative work.

With the choice of LEDs, neon lights, optical fibers and mirrors as materials, his works are experienced live by the spectators. Playing with spaces between play of light and infinity effects, Falcone is directly in the lineage of kinetic artists.

Visual codes are shaken up and the fallibility of the eye is called into question: optical phenomena.

Living with the times, Falcone has noted the cyclical return to past trends (especially the 80s) and applies himself to working very pop motifs ranging from Star Wars to electric guitars.

Infinity Breach

Led Installation  | 151 x 51 x 16 cm I 59 x 19 x 4 inches

Available

JOY

Joy - Popy can Love

Popy Can - Love

63 x 33 x 33 cm I 24 x 12 x 12 inches

Bronze

Popy can Head in the clouds

Popy can - Hokusai top blanc

141 x 67 x 67 cm I 55 x 26 x 26 inches

Painting and collage on resin

Joy - Popy can Nrew York

Popy Can - New York

63 x 33 x 33 cm I 24 x 12 x 12 inches

Bronze

Joy - Jimmy Hendrix

Popy Can - Jimmy Hendrix

141 x 67 x 67 cm I 55 x 26 x 26 inches

Bronze

BIOGRAPHY

|JOY

Joy ‘was born in Martigues, France in 1981. From an early age, she has been drawn to art and creation. She studied fashion design and saw her work winning numerous awards and exhibiting in various places. After a few years as a fashion designer and stylist, seeing her products sold by the biggest brands, she decided to devote herself to art, her true passion.

Joy ‘reappropriates the can, product and universal symbol of our society, to sculpt it in bronze, dress it in bright colors and multiply references to Pop Art and rock culture. It is one of the most recognizable objects in the world. The can is present on every continent, in every house, in every hand, all generations, social classes, religions combined. The goal is always the same: to drink it and empty it. But when it is empty, crumpled and folded, it continues to exist. Joy ‘invites us to look at this omnipresent object in our daily life from an artistic point of view. Between Pop Art and New Realism, the Popy Can is a link between everyone because everyone can identify with it.

The can becomes POPY CAN terribly alluring and happy work of art.

Joy - Popy can May 68

Popy can Pop - Maison Meneau

66 x 55 x 30 cm I 23 x 21 x 11 inches

Resin

Joy - Popy can May 68

Popy can - Like a bee top noir

141 x 67 x 67 cm I 55 x 26 x 26 inches

Mixed media on resin

Joy - Popy Can Eternal Love

Rick & Morty

141 x 67 x 67 cm I 55 x 26 x 26 inches

Mixed media on resin

Joy - Marie Antoinette

Marie-Antoinette (Blue)

54 x 30 x 17 cm I 21 x 11 x 6 inches

Plaster, collage et resin

Joy - Marie Antoinette

Marie-Antoinette (Black)

54 x 30 x 17 cm I 21 x 11 x 6 inches

Plaster, collage et resin

Popy can Head in the clouds

Popy can - Head in the clouds

33 x 13 x 13 cm I 12 x 5 x 5 inches

Bronze

Joy - Popy can May 68

Popy can - May 68

33 x 13 x 13 cm I 12 x 5 x 5 inches

Bronze

Joy - Popy Can Eternal Love

Popy can - Eternal Love

33 x 13 x 13 cm I 12 x 5 x 5 inches

Bronze

VINZARTH

New York

Anamorphosis

80 x 100 x 12 cm I 31,5 x 39,3 x 4,7 inches

Porte

Anamorphosis

40 x 100 x 18 cm I 15,7 x 39,3 x 7 inches

Telephone Booths

Anamorphosis

41 x 86 x 18 cm I 16,1 x 33,8 x 7 inches

Versailles

Anamorphosis

60 x 118 cm I 23 x 46 inches

BIOGRAPHY

Vinzarth began to develop a passion for photography in the early 1980s. He specialized in the field of architecture and decoration. For ten years, a new universe opened up to him where he discovered and showcased buildings in spaces and landscapes modified by man according to precise and functional criteria.

Nostalgic for the continent, Vinzarth returns to France, under the sun of a small village near Monaco. During an exhibition, he discovers a painting from an inverted perspective. It was the click that made him want to create anamorphoses from his photos.

After a year of research on camera angles, subjects, digital computer graphics, editing and stitching, the first photographic anamorphoses become real. Attracted, initially, by the buildings and facades of towns, Vinzarth “anamorphoses” the art deco and Haussmannian districts of Nice. He will then work on aesthetic concepts such as the La Défense district in Paris, then on monuments such as the Louvre pyramid.

The desire to move away from reality and give free rein to his imagination now pushes him to create his own landscapes, in 3D, using colors, soils, materials of reality. Vinzarth revisits the urban landscape to create imaginary neighborhoods.