Vanessa Safavi Swiss, b. 1980
(Self-) Portrait of a lady in petroleum (sticky, heavy, gloomy), 2023
Bronze, silicone, pigments, rubber
Variable dimensions
Further images
From her residency at the Istituto Svizzero in Rome in 2021-2022, the artist has returned with new iconographic sources and two fascinating materials - bronze and glass - with which...
From her residency at the Istituto Svizzero in Rome in 2021-2022, the artist has returned with new iconographic sources and two fascinating materials - bronze and glass - with which she created new forms. An alloy of copper and tin, noble and imposing, complex and full of history, bronze requires a very different kind of expertise from plastics and silicones.
In Lausanne, nestled like two eggs in the hollow of a tangle of black and rubbery cords of different thicknesses are two rounded charcoal-coloured forms ((Self-)Portrait of a Lady in Petroleum (Sticky, Heavy, Gloomy), 2023). The outline of a breast can be seen on one side, which on the other ends in a point, in an oscillation between several motifs, a drop, a female attribute, organic elements. This game of correspondences between the mineral, the animal and the vegetable is reminiscent of Jean Arp's sculptures and their combination of different images, mixed with a touch of humour. The feminine element of the breast and the contrast of materials also evoke the surrealist works of Meret Oppenheim, which function on the principle of the interweaving of antagonistic realities and the unusual, even fantastic, meeting of heterogeneous universes.
– Text by Séverine Fromaigeat
In Lausanne, nestled like two eggs in the hollow of a tangle of black and rubbery cords of different thicknesses are two rounded charcoal-coloured forms ((Self-)Portrait of a Lady in Petroleum (Sticky, Heavy, Gloomy), 2023). The outline of a breast can be seen on one side, which on the other ends in a point, in an oscillation between several motifs, a drop, a female attribute, organic elements. This game of correspondences between the mineral, the animal and the vegetable is reminiscent of Jean Arp's sculptures and their combination of different images, mixed with a touch of humour. The feminine element of the breast and the contrast of materials also evoke the surrealist works of Meret Oppenheim, which function on the principle of the interweaving of antagonistic realities and the unusual, even fantastic, meeting of heterogeneous universes.
– Text by Séverine Fromaigeat