Dear and valued collector,
This artifact is one of the FOUR artifacts presented alongside my 2015 Spring Equinox-Collection titled ‘Eternal Ancestors | Age before Beauty’ which includes the following artifacts: the Witch Doctor, the Snake Charmer, the Forest Dwarf, the Elephant Guardian.
The Elephant Guardian represents my full blast desire to reproduce in full detail this exceptional 19th century Lega Isengo ivory figure sold in 2011 by Sotheby’s at over 280,000 GBP.
The heart-shaped face, the large owl eyes, the thick three necklaces carved on the neck of this statuette captivated me since my very first encounter back in March 2014. This Isengo figure, which I chose to title the ‘Elephant Guardian’, is originally sculpted from a hollow piece of ivory, hence the hollow legs rounded in a semi-circular shape. Of course my reproduction is not made in ivory as this would definitely go against my atelier’s ethical principles. As I will explain below in this description, my atelier emulates ivory without killing elephants, hence the title I chose for this artifact. Elephants will be glad to know that someone on this planet is promoting the emulation of Ivory rather that the extermination of their species.
One major difference that I need to mention here is the size. I chose to make my reproduction version an enlargement (scale up) of the original which measures only 17 cm of height (7 in), whilst my version is 49 cm high (19.6 in), almost three times larger. The four artifacts of this collection of mine stand all in the region of 50 cm in height which is a size I feel comfortable with and I believe perfect for museums, homes and offices interiors.
This artifact brings the lowest price compared to the other three artifacts of the same collection. My prices are a careful reflection of the complexity of work required to reproduce each artifact. The strong architecture of this specific artifact, the strong legs and the arms firmly designed to be attached to the body from both ends, make this particular design less complex to replicate compared to the other items of the collection. Hence justifying the lower price. This is good news, considering that this is probably my favorite piece of the collection.
What I am deeply proud of in my artifacts, are the aging processes typical of my atelier and of the Aged Scotch Sculpture® principles and practice which enable achieving the superb ancient 'look, feel & aura' so distinctive in the ‘haute sculpture’ of my atelier. Each artifact reacts differently to the aging processes. Each artifact flaunts a unique combination of seducing corrosive and erosive effects which represents that fingerprint which makes each sculpture simply unrepeatable.
Furthermore, the visual colour perception of my artifacts varies between cloudy and bright days. You will notice yourself when browsing the photographs here presented. The colours of my artifacts are comparable to the colours of our eyes as they seem to react to the intensity and warmth of light bouncing on them. Blue eyes, for example, can look grey or greenish under certain types of light. You will discover unexpected colours at different times of the day, through the changing seasons or in relation to where you choose to position your artifact within your home or office.
Also, if you look closely, you will notice that each single grain of my artifacts has a different colour. They are not made of one simple flat colour. The range of colours in these artifacts is much broader than ones may expect when looking at them from a relative distance. Metaphorically speaking, my aged artifacts remind me of the Sicilian beaches dear to the first part of my life. When you look at it closely, really closely, you realize that sand is not made of one colour, but made of infinite tiny particles and they all have different colours. Some of them are even see-through fragments of crystals which distort the colours of nearby coloured fragments.
Similarly, my aging processes produce an immeasurable range of colours.
My artifacts sit composedly on windowsills where they seem to enjoy bathing of natural light. They stand powerfully on fireplace mantelpieces, lighted by soft dimmed illumination. If you like candles, try lighting candles aside your artifact; the multiple dancing shadows projected by the flames onto the surrounding walls and objects will make your artifact triumph of mystical and inspirational energy.
Like any sculpture, your artifact needs to be touched to believe its true beauty. Beauty, in sculptures, is not only for the eyes to appreciate. This is where sculpture surpasses flat paintings or drawings. Sculptures are real to touch. So, remember, ‘Look, but do touch too’. This is your own artifact afterall, you are allowed to touch it.
This is also why my aged artifacts make excellent presents for the visually impaired who, like us, have a passion for primitive and ancient art forms. They can enjoy watching them through their hands. My grandmother, for example, a beautiful person living in Aberdeen (Scotland) is almost blind, but she is probably the only person that knows exactly what each artifact of mine really looks like. I laid them on a cushion on her knees and she explored them inch by inch. She could not believe to her eyes!
The ecosystem is also very dear to my Haute Sculpture Atelier. I carefully select and employ eco-friendly materials and sustainable manufacturing techniques. I promote my own ‘ECO friendly’ techniques as valid ecologic alternatives to traditional fired pottery (kilns), the cruelty of Ivory trade and the destruction of rare trees.
I am proud to claim ‘Kiln Free Fresher Planet’. The downside of fired pottery are the many hours of extremely high temperatures that fired clay requires to become ‘pottery’. I believe Kilns represent an irresponsible waste of energy and an unacceptable contribution to ‘OUR’ planet’s global warming’.
An excerpt from some background research of mine, for example, states that - ‘it might have been OK to fire pottery vessels 12,000 years ago, when the world population counted a total of less than 20 million people and consumerism did not exist. Since then the world population has grown 350 times larger, which coupled with the last century's revolution of industrial mass production, have increased the number of kilns to unsustainable levels while chasing the ever-growing needs of consumerism’ - Similar issue with regards to the abuse of ivory - ‘it might have been OK to use ivory to make knives, spoons and artifacts 12,000 years ago when all our ancestors were doing was to recycle the ivory of dead animals. But today our elephants and are in real danger’. - They are being killed!
My Haute Sculpture Atelier© emulates the ancient 'look, feel & aura' of prehistoric and primitive pottery artifacts, but I use no ‘Kiln’. It emulates ancient ivory artifacts, but I ‘Kill’ no Elephants. I emulate rare exotic woods, but I do not contribute in destroying our forests. My background research report explains and justifies the reasoning behind my atelier’s values, processes and objectives. This will soon be made available on my websites and social network pages.
My conclusion here, matches the vision and objective of my ‘haute sculpture atelier’. My vision is to share, with my collectors, ‘artifacts, not just artworks’. Artifacts that you would normally expect to find in museums or auction houses. Artifacts with that ancient 'look, feel & aura' that you can 'look, touch & own’.
Denis Carbonaro | Haute Sculpture Atelier© | Artifacts. Not just Artworks© | Aged Scotch Sculpture®
Professionally mounted on museum wooden base. Each artifact comes with its tough wooden EternalTrunk® for safe transit and storage. The trunk itself is made of eco friendly and sustainable materials (Photographs also here presented).
TerraFresca® (Kiln-Free recycled terracotta eco friendly formulae). Metal. Wood. Jute. Patina. Sculptural processes involve welding, modelling, carving. Aging, weathering and oxidizing techniques.