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April 16, 2013


Filed under: niki de saint phalle — Tags: — jherzlinger @ 8:10 am

For me, if there was just one piece of sculpture I could own-ok this is pretend right, because we all know I can never even imagine to have only one of anything I love!-BUT if it was to be taht, it would definitely be a NIKI DE SAINT PHALLE.  For so many years I ahve loved and admired her work, and today’s post I hope brings you smiles!

Have a wonderful day!



Niki de Saint Phalle’s decorative style is known for  its vivid mosaic surfaces, which bear the influence of Gaudi’s distinctive technique , whilst the architectural scale of the figures blur the boundaries between sculpture and functional objects.

Both fantastical and overwhelming in physical presence, are examples of  Niki de Saint Phalle’s personal yet universal iconography. Indeed, the artist concluded: ‘in my work… everything is used great joys, desires, tragedies and pains.

It is all subjective. It is all my life. Nothing is secret. I have nowhere to hide. Luckily people cannot always see what they look at. It is their own past, their unconscious dreams that they see’.

Playful, bold and baroque, Niki de Saint Phalle’s large-scale multimedia sculptures are among the most idiosyncratic three-dimensional works of the post-war and contemporary era. Their bright, richly textured surfaces,

animated by arabesque patterns and reflective mosaics, imbue each sculpture with a unique sensory immediacy. Niki de Saint Phalle first began to create figural sculpture in 1965 when she conceived of her Nanas an extensive

series of works inspired by the changing position of women in contemporary society. These corpulent figures, typically engaged in a playful dance, convey a spirit of freedom and jubilation, and represent the artist’s provocation

of the male-dominated Parisian art world.

Without doubt the most distinctive characteristic of these sculptures is their sense of theatricality, which achieved something of an apotheosis in Niki de Saint Phalle’s

Tarot Garden a monumental sculpture park in Garavicchio, Tuscany, on which the artist began working in 1979. It was inspired in large part by the Art Nouveau architecture

of Antoni Gaudí, which she first discovered in 1955 whilst on a trip to Barcelona. Its boundaries contain numerous immense sculptures based on the icons found on tarot cards

and opened to the public in 1998 after almost twenty years of development. This ongoing project inspired the often gargantuan scale of Niki de Saint Phalle’s standalone

sculptures including the present work, Buddha, which was one of the last pieces the artist created before her death in 2002.

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