Jean Marie Fiori is a French sculptor born in Limoges. He graduated from the National School of Fine Arts (École Nationale des Beaux-arts) in Paris, where he is now based. Formerly a painter, Fiori is devoted to sculpture and more specifically, to the representation of animals. During the years, the artist/designer improved his mastery of bronze and enriched his imaginary bestiary of designed furniture and monumental installations. In 2010, Fiori was selected by the Chinese Official Committee of World Expo in Shanghai to create a set of urban furniture consisting of five benches. Inspired by traditional Chinese symbols, he reinterpreted turtle, bull, tiger, buffalo and duck. Over time, he developed a language of plastic arts closer to that of the Decorative Arts. He transformed deer into chairs and falcons into tables, with a sense of humor and his own originality specific to his works. This Tiger Chimney / Fire Place in patinated bronze was produced in a signed and numbered edition of 8 plus 4 Artist Proofs. Inquire Here for pricing.
Installation View
Photographed at the Salon Art + Design 2019 in NYC.
Mirror: All of This and Nothing IV, Bonfire: Cold Night (All Photos By Gail. Click on Any Image to Enlarge for Detail)
In the Chelsea Gallery District, there is a huge advantage to having a street level, store front space, in that it attracts a lot of passers-by for whom the featured exhibit may not necessarily be on their radar. This past Saturday was not the first time that we have been drawn into the Magnan Metz Gallery based on a casual glance into the window. The tableau pictured above is what we saw as we walked west on 26th Street, the pull of which could not be resisted. Because, Bonfire in the Gallery.
In Big Brass/Light Opera, artist Amelia Biewald transforms the gallery space into an 18th century European parlor room, recreating the period’s lush opulence and sophistication.
Heavy Weather, with Le Petit Mort Background, Right
However, the glamorous presentation is askew as the encapsulated scene has the tell-tale signs of a rogue stag run amok, a chaos ensuing as a result of a sparring within the space.
Amidst the knocked over furniture, wigs, and fans the now expired stag, Heavy Weather is suspended upside down having been brought to the ground by the weight of his own antlers, its presence within the room signifying a complete arrest of time.
Heavy Weather with Seduced and Abandoned, Far Right
Heavy Weather, Detail
Inspired by the visual intricacies found in historical masterpieces such as Diego Velázquez’s Las Meninas (1656), Biewald uses similar visual cues that allude to an outside viewer within the narrative forming a discord between perspectives.
All of This and Nothing III
Generating further tension are five vintage picture frames inlaid with mirrors and decorated with the heads of deer (Series Title: All of This and Nothing). Looking into the mirrors, the heads form a curious push and pull through the reciprocity of gazes. The scene is further stratified as the viewer establishes a context within the composition whilst moving about the mirrored space, becoming both the viewer and subject. Within these notions of perception the complete narrative exists in a plane somewhere in-between the multiple perspectives.
All of This and Nothing IV
All of This and Nothing V
Big Brass / Light Opera is an amazing exhibit that I very highly recommend you try and see before it close in just over a week.
Amelia Biewald’s Big Brass/Light Opera will be on Exhibit through November 22nd at Magnan Metz Gallery, Located at 521 West 26th Street, in the Chelsea Gallery District.
