“But then,” said Alice, “if the world has no meaning, what prevents us from inventing one?”
— Lewis Carroll, Alice in Wonderland

In her series of works centered on anthropomorphized rabbit figures, Deng Yu traces an alternative art history where viewers are invited to approach art with a “playful spirit.” In the piece “Yayoi,” she creates a “rabbitified” portrait of Yayoi Kusama, dressed in a tunic covered with the characteristic dots of the Japanese artist’s universe, and sporting her iconic red bob haircut. Despite its “cute” appearance, this work should not distract us from its depth. It not only highlights Deng Yu’s admiration for her elder’s work, but also brings attention to Kusama’s mental health, as she has lived in a psychiatric hospital since the 1970s. By personifying the plush toy Kusama always has with her during interviews, Deng Yu alludes to the world of childhood as an escape from the harshness of the “real” world, while inviting us to delve into imaginary worlds that both artists and viewers are encouraged never to stop inventing.

MARATHONIENNE (The Marathon runner)
Edition "Art For All" by Galerie Loft Paris

1981 - Ed.2020,
Black painted cast metal,
H.16 x 11,5 x 6 cm, 145 grams
Dim. of the box : 20 x 14,5 x 9 cm,
Certificate of authenticity included.

About the Artwork
Initially conceived in 1981 as a 6 meter high monumental sculpture, Marathonienne (the marathon runner) has now become one of Philippe Hiquily’s most iconic sculptures. At the center of many cultural events in Europe and all over the world and revealed to a wide audience thanks to the American television series Billons, she impresses us by the softness of her curves and the eroticism of her figure that contrasts with the rigor of her composition (the perfect geometry of a circle divided in 3 angles of 120°on a central axis). This modern sport woman immortalised in an ultimate moment of grace, both strong and untameable, is rendered vulnerable by the stolen moment in which she seems suspended. Generally presented in monumental formats, the marathon runner has found its way into a small format for the Art For All collection, thus proving again that the grace of her shapes has no limits.

ÉPICURIENNE(The epicurean)
Edition "Art For All" by Galerie Loft Paris

1981 - Ed.2020,
Black painted cast metal,
H.16 x 8 x 8 cm, 208 grams,
Dim. of the box : 21,2 x 12,5 x 9,5 cm,
Certificate of authenticity included.
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About the Artwork
The last of the sculptures made by Philippe Hiquily is a direct counterpart of the mythical sculpture by the artist: the Marathonienne. Whilst this last one was captured in the effort of her action, Épicurienne (the epicurean), seems on the contrary caught in a moment of serenity and of pure ecstasy.
Pretty and nonchalant she offers herself to the eye but remains more reserved than her elder sister. Her hand chastely caresses her crossed knees whilst her mind wonders in her dreams. Is she really modest or simply relaxed and satiated after having reached climax? As she now joins the Art For All collection in small format, we can now all decide of her destiny... in the palm of our hands.

Edition "ART FOR ALL" by Galerie Loft
2011 - Ed. 2020
Black painted stainless steel
H.18 x 12 x 7 cm- 85 gr.
Signed at the bottom and numbered 1000 copies.
Box dimensions (with protective case): H. 23 x L. 17 x W. 9 cm
-

"Introducing the movement is to create life"
Philippe Hiquily.

The question of movement has always been an integral part of Philippe HIQUILY’s work. At the end of the 1950s, he created the mobiles and the fountains. In 1963 he made a trio of monumental 12-meter weathervanes installed on Elviria beach (Marbella, Spain) that he reinterpreted more than 30 years later to carry out a monumental project for the Universal Exhibition 2010 in Shanghai. Faced with the success of this work, the artist conceived the following year a series of weathervanes including the Winter Weathervane which will be made at a height of 5 meters.

Faced with these mobiles, our relationship to sculpture is completely upset. The aesthetic experience is no longer lived only through contemplation, but through participation. The artist invites us to play with the work, thumbing his nose at the instructions "do not touch" instituted in cultural circles.

By integrating the Art For All collection alongside the Marathoner and the Epicurean, this Weathervane comes in an accessible format of 18 cm high while retaining the poetry and magic of its monumental equivalent and, more than ever, the playful essence.

“To introduce the movement is to create life”
Philippe Hiquily.

The question of movement has always been an integral part of Philippe HIQUILY’s work. At the end of the 1950s, he created the mobiles and the fountains. In 1963 he made a trio of monumental 12-meter weathervanes installed on Elviria beach (Marbella, Spain) that he reinterpreted more than 30 years later to carry out a monumental project for the Universal Exhibition 2010 in Shanghai. Faced with the success of this work, the artist conceived the following year a series of weathervanes including the Winter Weathervane which will be made at a height of 5 meters.

Faced with these mobiles, our relationship to sculpture is completely upset. The aesthetic experience is no longer lived only through contemplation, but through participation. The artist invites us to play with the work, thumbing his nose at the instructions “do not touch” instituted in cultural circles.

By integrating the Art For All collection alongside the Marathoner and the Epicurean, this Weathervane comes in an accessible format of 18 cm high while retaining the poetry and magic of its monumental equivalent and, more than ever, the playful essence.

• Pre-order
  Launching price 600 Euros
  Available from December 10, 2021

Edition “Art For All”,
2015 – Ed. 2021,
Painted cast metal – Red color
H.22 x L.18 x P.16,5 cm – 1080 gr.
Signed on the side and numbered 600 copies.

«Angel Bear is a totem, a warning message for all men», Richard TEXIER.

A few years ago, overwhelmed by the photograph of a polar bear drifting on a piece of ice floe and destined to death, Richard Texier imagined Angel Bear, a bionic and hybrid winged bear. This mythical animal more than 7 meters high, whose existence is threatened by global warming, refers to our world that constantly changing but also refers symbolically to our childhood comrade. When the artist places it on its majestic base on the forecourt of the Gare du Nord, a place where nearly 700 000 people pass every day, the bear comes to catch travelers to deliver them a silent message about the fragility of the world and the climate issues. By giving it a red skin, it emphasizes the message of alert and danger that it releases and underlines the nature of this being who, like humans, is both powerful and fragile. Texier’s ultimate dream is for this work to “find life within the human community”. By including this sculpture in the ART FOR ALL collection, the artist is now taking a further step towards this wish, by offering everyone the opportunity to acquire this piece with decisive stakes and symbolism.

“I don’t do abstract sculpture. I have always looked for the human in sculpture”, Parvine Curie, interviews with Scarlett Reliquet.

The works of Parvine Curie have a double essence, that of an intimate monumentality which imposes itself through its forms, as much as it attracts and reassures us. The sculpture practice of this artist who was the companion of François Stahly has never ceased to embody her great sensitivity as a woman and mother and has gradually evolved over the course of a life rich in travel and discoveries. Her works are thus marked by the visual, formal, but also spiritual force of the architectures of many cultures which fascinate her. Her love for Spain, and more specifically Catalonia where she lived for a long time, marked her personal history as much as her artistic career and was paramount in the creation of the artist’s major works. This Character “Cadac”, a proud and elegant totem, symbolizes the preponderant place that this small village of Cadaquès still occupies today in the artist’s heart where she likes to recharge her batteries.

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1988 – ED. 2022
Painted cast metal – white or black
H. 30 x W. 9 x D. 8 cm – 3100 g.
Signed and numbered at 99 ex.
Dimensions of the box with protective case: H. 36 x L. 14.5 x D. 10.5 cm

2007 – Ed. 2021,
Painted cast metal Black or white
H. 14 x W. 14 x D. 11 cm – 2700 g.
Signed on the side
Numbered at 300 ex.
Dimensions of the box with protective case: H. 20 x W. 20 x D. 15 cm

“When I discovered sculpture, I found a kind of strength that pushed me to define a form that is close to a “mother compartment”, both architecture and character. I don’t do abstract sculpture. I have always looked for the human in sculpture”, Parvine Curie, interviews with Scarlett Reliquet.

Parvine Curie’s works have a double essence, that of an intimate monumentality that imposes itself through its forms, as much as it attracts and reassures us. While her practice of sculpture has evolved over a life rich from traveling and discovery, she has never stopped to embody her great sensitivity as a woman and a mother. It is therefore no coincidence that many of her works fit into this theme. Her “Mères (Mothers)” are real spaceships that symbolize the transcended, powerful and protective mother.

In the work L’enfant abrité (the Sheltered Child), we particularly feel this force. Her attachment to the stripping of forms in fact evokes a refuge as much as the comforting presence of a united family, and one cannot help but have a touched thought for his son, the poet David Marti, who died in 2007. The choice to include this work in the collection “Art For All” is therefore not trivial. It proves once again the richness of contemporary sculpture and its impact on our current society.

Edition "ART FOR ALL" by Galerie Loft,
Weight : 550g,
Painted cast metal,
Dim. of the box : 22.5 x 16.5 x 5 cm.

The work

In the 1980’s, after meeting with Michel Roudillon, Claude Gilli starts working on steel sculptures. He progressively abandons woodworking to follow the path of cutting and welding steel. Many new perspectives open up to him, one of them is the possibility to conquer the outdoors by making monumental sculptures. His cuttings, incredible three dimensional landscapes in layers and painted in blue, green, yellow and pink are an explosion of colours and materials recalling the pop tendency of the “Nouveaux Réalistes” and a composition in the same vein as Wesselmann. He may figure feminine nudes, bottles or layered Mediterranean landscapes, they all remind us of Nice, the blue sky of the Riviera, that will always be tied to Claude Gilli’s work.

Artist

Claude Gilli is a major figure of the “École de Nice” (School of Nice) that had a considerable impact on French pop art. Born in Nice in 1938, he enters the School of applied arts of his hometown in 1955. In 1962, on New Year’s Eve, he burns most of his early works. Close to the artists Albert Chubac, Martial Raysse, Ben, but also Arman, César, Farhi and Venet it’s his encounter with Robert Malaval that will lead to different works that they made in common around “aliment blanc”. Having obtained the Lefranc prize in 1966, he is shown at the exhibition “12 super realists” at the Del Leone gallery, Venice, where he disco- vers the works of American “pop” artists, Lichtenstein, Warhol, Wesselmann. In 1968 he starts working with Plexiglas and then continues with a series of paintings “aux escargots” (with snails). In the 1970’s he moves to Paris and is also shown in numerous international exhibitions, one of them was dedicated to the school of Nice a the Pompidou Center, Paris. The degenerative disorder he was subject to finally caught up with him and obliges him to be in a wheelchair. He starts working tirelessly and develops works in cut iron, notably for outdoor pieces and monumental sculptures.

Édition “Art For All”,
2012 – Ed. 2020,
Painted metal cast,
H. 13.5 x L. 16 x D. 4.5 cm – 450 gr.
Signed on the base and numbered 999 copies.
Dimensions of the box (with protective case): H. 18.5 x L. 20 x D. 6.5 cm.

“Much of my work is a historical reconstruction of my childhood. In Argentina, when I was little, in the time of the war, all the toys that came from Japan and Europe disappeared and people started to invent toys with painted wood for selling in the markets . Between 1965 and 1968, I prepared an exhibition for Jean Boucher Gallery and Claude Bernard Gallery with works that were a form of “reproduction” more or less close to all these popular toys ”
Antonio Seguí, August 2009

Through his figures with simple features wandering in the heart of cities, Antonio Seguí portrays human comedy with jest and humor. “Of course, I like to delve inside the individual, to understand their conflicts, to bring out their joys“ he said. If some of the elements he offers in his works are linked to his own history (such as the hat, a sign common of all social classes in the Argentina of his childhood), the most important in his eyes is to let the spectator build their own story. The modern man, whom he sketches with pleasure and irony, in a hurry and urban, then escapes the everyday grayness by adorning himself with bright colors, in an eternal quest for happiness and warmth.

“A chainsaw as a pencil, I play at feeding this gallery of portraits, sometimes taking the form of a mask, a skull or a fragment of a mandible, and continuing, according to desires or encounters, my slow evolution in the land of animal singularities.”

When he shapes his works, Quentin Garel works with the material with an obvious love for organic forms. Exploring their materiality while deliberately playing with our perceptions, its changes of scale, sometimes excessive or hybridized, disturb our representation of what exists. For Christine Argot and Luc Vivès, in his Osthéomorphoses “he combines the Beautiful and the False, which nevertheless seems true – a distorted, falsely specular reflection of reality! He is a naturalist artist, collector of extraordinary skulls gleaned from his mind.” In his work on the Monozygote, a phantasmagorical bird skull in a tripod, he thus crystallizes in the same work his concern, but also a certain derision, for the destiny of animals, as much as humans, in the heart of a world in full mutation.

TERRE (Earth) - Gold
When the world becomes earth and earth becomes the world ...

Edition "Art For All" by Galerie Loft Paris
2020, Gilded cast metal,
D.8 cm, 1150 grams,
Dim. of the box : 9 x 10 x 10 cm,
Certificate of authenticity included.
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About the Artwork
“One of the great conquests of contemporary art is to have seen writing as such, recognizing its specific plasticity. Quentin is one of those who has drawn the most from it, meaning artworks. Everything he has created in this hollowness of our modernity refers to the landmark in the world that is writing.”
Jean-Clarence Lambert (Quentin, des graffitis aux Monuments, 1991)

When the world becomes earth and earth becomes the world ... A poetic breeze accompanies the work of Bernard Quentin. Poetic since his works mirror plays on words and playful signs. But where do they start? In the word or in their shape? In the sounds or in the calligraphy? Is it inside or outside? Earth destroyed, earth multiplied. In the "Art For All" collection, Bernard Quentin’s semiotic art takes the shape of a gold globe, where the words in perspective cradle in the palm of our hands. Our precious earth, both cradle of humanity and land of opportunities, is universal, in this case the artist could not have given a better tribute for the "Art For All" collection.

About the Artist
Art is a language, a unique form of expression that allows artists to experiment as well as for the public to have intense and new feelings. Amongst these artists that have in the 20th century known how to question the world, there is a man who, in his 96th year of age, has preserved his desire to explore and continues to work on these ways to communicate. BERNARD QUENTIN was born in 1923 in Flamicourt (Picardie, France). After the Second World War he starts to produce works that have writing as basis, assuming that the ideal form to unite people is language. During his relentless quest to conceive universal signs, he comes to make monumental pieces, but also starts using original materials or tries to establish a real “semiology” of art.

“Even the workers who do the smallest tasks accomplish an important work every day." François Michelin, Michelin Special Edition, Ed. La Montagne, 2007

At the crossroads of the cultures and the worlds, Li Lihong never ceases to amaze us with his hybrid figures resulting from the meeting of art and contemporary iconography.

His latest work, Michelin China, borrows its form as much from religion as from advertising. In a meditative pause, a Michelin man, famous icon of the French brand which evokes gastronomy and luxury around the world, transforms into Buddha. The serene face brings a deep sense of calm and relaxation that contrasts with the culture shock. As for the colors and patterns that adorn this work, it refers to temple idols, sometimes ancestral Chinese porcelain, all reminds us that Li Lihong knows how to create the bridges between the traditional and the contemporary. Thanks to this sculpture included in the ART FOR ALL collection, the artist makes us smile as much as he makes us dream, projecting us into the heart of his universe. A real concentre of bliss.

Edition "ART FOR ALL" by Loft Gallery,
2020, Cast iron,
Gold color,
Blue cloud patterns,
H. 10 x L. 9 x D. 8 cm - 855 gr.
Signed below and numbered 999 copies.
Dimensions of the box (with protective case): H. 11 x 15 x 15 cm

Edition Art For All by Galerie LOFT,
LI Lihong,
Edition of 300 ex., numbered and signed by artist.
H.7.5 x L.9 x W.5.4 cm,
Weight : 555g,
Cast iron.

As he takes into consideration the great symbols of our time, Li Lihong comes to explore some of the greatest icons of our time, in this case the most famous of mice whose figure has become in less that a century a universal symbol linked to childhood and nostalgia.
His “Mickey-China” resumes the outline of the famous ears, that have now become the brand of the Disney empire, transposing them in a harmoniously rounded sculpture, dipped at it’s base in a swirl of waves. The work hence symbolises the encounter of Nature and Culture, both ancestral and in constant movement.
In this Art For All piece, Li Lihong concentrates all the potential of his work in an accessible format, giving us what he does best, an amusing view of today’s world instilled with the irony and harmony of his art.

Edition "Art for all" by Galerie LOFT

LI Lihong,
Edition of 300 ex., numbered and signed by artist.
D.7.5 x L.6.2 cm,
Weight : 435g,
Cast iron.
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As he explores the cultural and social impact between east and west Li Lihong starts in 2007 several series of ceramics such as “Mac Donald’s - China” or “Nike - China”. These works will project him on the international artistic scene. His apple “Apple - China”, is clearly one of his most famous works. In transforming the logo of the famous American company into sculptures, that are either silver or gold, adorned with traditional Chinese patterns (dragons, clouds...), he symbolizes perfectly the complex relations of these two great economical powers, between confrontation and fusion, dialogue and contradiction.

In this Art For All piece, Li Lihong has made and edition of this mythical work in an accessible for- mat, proving us how much the message carried out in his work isn’t limited to size and in this case can even be concentrated in the palm of our hands.

Li Lihong,
2018,
Cast iron,
Dimensions : H.6.2 x L.5 x P.5 cm,
Weight : 435g
Edition of 300 ex.

Edition "Art For All" by Galerie LOFT

In the Art For All piece, Philippe Huart presents a small format edition of three pills in painted metal. With the “red and white” edition of the “Side effects” series, his idea is to work on duotone and variations in space. These interlocked pills can be presented under different angles. Here the artworks gives itself the possibility to be viewed under multiple and plural dimensions, an aspect that corresponds exactly to the Art For All collection.
Whilst reading the subtitle “passionate love”, love in all its forms obviously comes to mind: passion and jealousy, happiness and madness, violence and life are crystallized in the deepness of red, counterbalan- cing it, the purity and clarity of white that absorbs and reflects, reinforces the esthetics of what has beco- me and object of desire.

Weight : 1.08 kg
Dim. of the box : 14 x 10 x 8.3cm

“Sébastien Kito is an artist of withdrawal. Of lines too, because the refined sculpture tends to become a simple vertical or curved line. Rather curved, in fact, because the world he draws is of a cosmic nature. The earth is round, space is curved, the tree is elliptical.” Claude Mollard

Mobile, articulated, and hollowed sculptures, often bearing anthropomorphic or animalistic reminiscences, Sébastien Kito’s works have a special relationship with space, closely related to the Japanese concept of “ma,” which refers to the subjective variations of the void connecting two separate elements. The artist materializes, from simple traces and lines, cut-out forms that articulate in plays of colors and transparencies to produce new refined volumes. In this way, he suggests complex relationships or interactions between the sculptures and the space, between fullness and emptiness.

The work “Merle” created for the Art For All Prestige collection perfectly embodies this reflection. A true symbol of knowledge and intuition, but also a bearer of renewal, this noble bird now engages in a new dialogue between the artist and the collector.

MEERKATS with red barrel
Edition "Art For All" by Galerie Loft Paris,
2020, Painted cast metal,
H.16 x 6.5 x 6 cm, 530 grams,
Dim. of the box : 19 x 12,6 x 9 cm,
Certificate of authenticity included.
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About the Artwork
The wildlife and the animal kingdom have always been choice subjects for Mauro Corda.
To him the years 2000 have been an opportunity to perceive them as beings in mutation (The Criket, 2013; Turtle-shark, 2017), since they are today submitted to great ecological and climatical crises due to Mankind. This interrogation on the undermining of the animal kingdom due man’s actions and the enormous disappearances of species is clearly portrayed in this 2008 work, Meerkat.
These three “desert sentinels”, in alert, find themselves stuck and coated in oil that is leaking from a barrel, as if forever stuck in time. This milestone work of art adapted for the "Art For All" collection reminds us of all the major stakes that tomorrow’s humanity will have to answer to: bioethics and our common responsibility in the preservation of the planet.
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About the Artist
The Sculptor MAURO CORDA, of Sardinian origin and born in Lourdes in 1960, has followed sculpture courses at the School of Fine Arts of Reims and then the School of Fine Arts of Paris before obtaining a scholarship to pursue his apprenticeship at the Casa de Velázquez in Madrid. He is an heir of the great tradition of classical sculpture, claiming his affiliation to some great masters whilst also considering that art must question our modern societies. His works constantly reflect on the subjects of difference and exclusion who wrong us in our perception of “normality”.
This committed artwork is both attached to the sensations and feelings one has for the shape, it might be a human or animal one, an aspect where he marvels in the finesse, but also to those of the viewers that are in front of them.
“Hustle our usual perspectives, interrogate our certainties, question the apparently unchanging ways in our relations to others, to animality, to the wilderness” press release of the exhibition “Zoospective”Besançon citadel, 2018

Edition “ART FOR ALL” by Loft Gallery,
2010 – Ed. 2020
Painted cast metal,
H.16,8 x W.11 x P.4 cm – 550 gr.
Signed on the front and numbered in 500 ex.
Dimension of box : H. 22,5 x L. 16,5 x W. 5 cm
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“In the early 2000s, Claude Gilli chose to return to his favorite work, cut wood, to bring back his pleasure of coloring feelings and memories. It was during this period that he created this series in homage to love, to life, to his pleasure, to surprise us… “.

(Michel Roudillon, Press kit of the exhibition POP LOVE – Fire of Love, LOFT gallery, Feb. 2018)

A universal symbol of life and love in the popular imagination, the heart has a unique visual and emotional power. CLAUDE GILLI has presented this series “Fire of Love” with intensely colored compositions in relief, brilliant and smooth. Play on words, play on light, play on the abyss. Lively and vibrant, these cut-out hearts induce a notion of depth in the pictorial space, reinforced by the light of the flames that come to caress them. In “L’amour fou” (Crazy love), the hearts multiply and ignite, proving once again that despite the difficulties Claude Gilli had to face all his life, he never stopped creating the works with a certain magic in an imperishable quest for an ideal of happiness.