Thinking differently about the Renaissance 🪐🗿 with Daniel Arsham

As when I watch these antique looking sculptures leave, pierced by the crystals that the artist loves and that give, for me, a strong and deep life energy to his work.

I remember very well when we both talk today in the gallery (but I don’t tell him) about his time at Cooper Union @schoolofarchitecture in NYC. That’s where it all started for Daniel, I think. Then came photography, then architecture and his first iceberg paintings, which reminds me, of course, of the actual crystals in his work.

Daniel was telling me that for this exhibition, he worked for two years! To conceive, realize and produce these pieces… Daniel went to the casting workshop created in 1794 at the @museelouvre and managed since 1895 by the Réunion des musées nationaux français – Grand Palais (RMN-Gp). A return to his roots that does not surprise me at home, his work seems to me to be even more mature than two or three years ago.

Then he applied to them a return to the future in his own way 😉 (maybe that’s why he likes the De Lorean so much 😅)

The reproduction of a work sculpted on these universal artistic models borrowed from Greek and Roman sculptors requires expertise and meticulous care.

I like in Daniel, he does not hesitate to bring in outside skills that allow him to surpass himself (casting tech, mold making, precious stones research, etc).

I really liked the sculpture of Moïse in front of which we are standing. Since my first visit to Rome as a child, I have been an absolute fan of Michelangelo Buonarroti, himself a pupil of Domenico Ghirlandaio ✨

The original sculpture of 2.35m is still today in the church of San Pietro in Vincoli in Rome and it is the only part of Julius’ tomb that is in the hand of Michelangelo .

It opens tomorrow! It’s going to be crowded, go on! Friends collectors who follow me, there are still some pieces left, it will not last …

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