Parvine Curie (1936)

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Lot n° 282
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Estimation :
3000 - 5000 EUR
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Result : 25 600EUR
Parvine Curie (1936)
The narrow door, 1992 Pierre de Chauvigny, signed on one side 55 x 32 x 44 cm Bibliography : " Parvine CURIE " by Scarlett Reliquet. Éditions Somogy d'Art. Reproduced page 46-47 Parvine Curie approaches the staircase in an original way with Personnage escalier intérieur and La Porte étroite. The latter summarizes his hauntings: the staircase for the ascent, the interior protected in a game of light and shadow, the difficult passage, then beyond the unknown. It is one of the rare sculptures in clear stone. The artist had seen it in a dream reminding her of the bright light seen during her accident in Barcelona in 1957. She makes gaps, creates voids, and deploys a circulation between the solid volumes. Thus the expressive power of the sculpted forms - or assembled in the collages - comes from the containment, from the retention of the energy captured in these voids. And we know very well, as is the case in Chinese calligraphy, that it is on the quality and strength of this emptiness that the relevance of the balance of the full volumes depends. Everything is held together by the void. The voids take on all the more meaning - an allegorical meaning - as this work is mostly made of full volumes, often intertwined. The emptiness (Habitacle-Mère; Mère-labyrinthe, 1972; Château de l'âme, 1981) is not a nothing but a space where the light insinuates itself, puts the volumes in exergue. This opening in the mass of the sculpture constitutes a passage that refers to the transitory nature of our life on earth. It also tells of the journey necessary to reach nothing. It describes the meditative path that leads to the stripping. The staircase, which is frequently sketched in Parvine Curie's sculpture, also illustrates the waiting, the progression, the questioning. Towards what do these steps go? The staircase functions rather as an allegorical figure of doubt and of the necessity of this doubt. Similarly, the choice of the figure of the monastery as a place of reclusion and meditation underlines the artist's marked interest in asceticism, in silence. The practice of silence prepares for the infinite silence that awaits each of us.
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