Whitford Fine Art - Press release
10/12/2023
For BRAFA 2024, the Paul Delvaux Foundation has seized the opportunity to take part in the ‘Year of Surrealism’ and shine a spotlight on the great master’s work. For its 14th uninterrupted participation in BRAFA, Whitford Fine Art will be bringing sculpture which pays tribute to Surrealism and which forms part of the wider celebration of 100 years of Surrealism in 2024.
CLIVE BARKER (UK, b. 1940): HOMAGES to RENÉ MAGRITTE (Belgium, 1898-1967)
In 1964, the 24-year-old Pop Artist Clive Barker met the 66 year old René Magritte at the Hanover Galley in London. Barker expressed his admiration for the Belgian Surrealist following his death in 1967 with the works Magritte’s Pipe and Madame Magritte’s Pipe, which feature as iconic themes of the Belgian Surrealist painter’s subject matter...
KIM HAMISKY (Vietnam 1943-France 2002)
nitially trained as a painter, Hamisky turned to sculpture after becoming the son-in-law of Claude and François-Xavier Lalanne in 1969. Over the years, key to his iconography was the alteration of the practicality of objects as in the present sculpture Le Complex de Janus (1981). The latter addresses the duality of the positive and negative, of the inside and outside of an everyday piece of furniture, pushing the technical limits of any sculptor, and touching on the surreal...
CLIVE BARKER (UK, b. 1940): HOMAGES to RENÉ MAGRITTE (Belgium, 1898-1967)
In 1964, the 24-year-old Pop Artist Clive Barker met the 66 year old René Magritte at the Hanover Galley in London. Barker expressed his admiration for the Belgian Surrealist following his death in 1967 with the works Magritte’s Pipe and Madame Magritte’s Pipe, which feature as iconic themes of the Belgian Surrealist painter’s subject matter...
KIM HAMISKY (Vietnam 1943-France 2002)
nitially trained as a painter, Hamisky turned to sculpture after becoming the son-in-law of Claude and François-Xavier Lalanne in 1969. Over the years, key to his iconography was the alteration of the practicality of objects as in the present sculpture Le Complex de Janus (1981). The latter addresses the duality of the positive and negative, of the inside and outside of an everyday piece of furniture, pushing the technical limits of any sculptor, and touching on the surreal...
