SHOP 2 ~ Lunar Cat Series ~ No.6 THE NEST

Strata of lands, earthenwares, porcelains... modeled in the feline flexibility and thoughtlessness. Spirals of transparent energy crystallized by colored recycled glass joined by iron and lead threads.

TREAT YOURSELF, IMPRESS YOUR FRIENDS, MAKE HAPPY YOUR LOVED ONES ...

This is an ideal gift for any one interested in fine arts and sculpture.

And the perfect gift for the person who has everything!

You will have to love the artist's aesthetic to commission a unique and beautiful...

Tolstoy defined art (and by no coincidence also characterized its value) as the following:

"Art is a human activity consisting in this, that one man consciously, by means of certain external signs, hands on to others feelings he has lived through, and that other people are infected by these feelings and also experience them."

The value of art, then, is one with the value of empathy.

Maru's artwork never fail to provoke day dreaming, elicit smiles and interest.

Each Lunar Cat Sculpture is unique, signed and numbered.

The sculpture is made of Grog, Porcelain, Enamels and recycled glass bottles. Fired at 800°C / 1472°F degrees and smoked.

Blues & Browns

Recycled Glass,

Grog clay, Porcelain

& Enamels

Sculpture series

Lunar Cats No.6

“The Nest”

by Maru.

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Maru's Lunar Cat No.6 “THE NEST” is a Recycled Glass, Earthenware & Porcelain Sculpture.

Organic in structure, this three dimensional art piece is made of a collection of earthenwares, ceramics and porcelain with spirals of transparent energy crystallized by recycled colored glass soldered together with iron and lead threads.

This sculpture has been expertly crafted with technics from the 18th century by Venezuelan-French artist Maru Hernandez who has been recycling and collecting gorgeous multi-colored textured glass bottles for the past 30 years. She has always been inspired by her own cats. The artist has always rescue all the cats that arrive at her door. Actually she has a dozen cats.

Maru's Lunar Cat No.6 stained glass painted porcelain sculpture is perfect a sunny window, or with a back-light as center piece for your living-room, or set in your garden landscape where morning or afternoon sun can really show off it's splendor. Maru's colorful artwork never fail to provoke day dreaming, elicit smiles and interest.

This is a unique piece.

Colors: Blues & Brown

Dimensions

H 13 in - W 13.7 in - D 31.5 in

H 33 cm - L 35 cm - D 80 cm

MARU’S STATEMENT ABOUT THE LUNAR CAT No.6 SCULPTURE “THE NEST”

Lunar Cat No.6 “THE NEST”

REFLEXION

Visual language composed with modules ... Pentagrams written in the space creating internal atmospheres, conducive to daydreaming, and external, such as trees of life under the magical lights of the sun and of the moon ... These pieces come in various sizes ranging from 67 cm x 40 cm and 200 cm x 80 cm … They live in freedom like musical notes ... Fields of alpine flowers … Enchanted forests ... Each artwork is composed of panels of twisted iron, bent in the shape of rods which are reversed and welded together … Glass pieces are then woven into an opened frame feathery forming a stained glass slightly suspended in its iron holder ...

Crafts and ecological ... they are made from recycled bottles …

Broken by thermal shock, recycled bottles then give life to glass tiles ... I make each artwork from the new pieces, carefully chosen, always looking for transparencies ... textures ... depths... in a perpetual discovery where the alliance of the fire is always unexpected and surprising ... to create atmospheres conducive to daydreaming ...

Sculpture design gives them a three-dimensional dimension ... They are open so they create spaces full or empty ... such as plants foliage ... They can be moved in the space, in search of light ... while remaining accessible to the touch and to the contemplation at any time as they also benefit from artificial lighting ... The modules assembly is consistent with ancient techniques ... It consists of lead bars to partition and of tin bars for the soldering ... which becomes a source of interesting textures and contrasts ...

I am passionate about stained glass... I often go contemplate stained glass modules in abbeys ... churches and cathedrals of the Middle Ages … I also love glass and colored glass bottles ... One day, I was in the church of Ouche Conches, in Normandy (France), contemplating its beautiful stained glass modules from the 12th century, and to my amazement, I regretted the fact that I could not come closer ... Not being able to touch them … Not being able to recreating this magical atmosphere under those colored stained glass modules at home as I would need a glass roof ... Then I thought about my large collection of glass bottles, which was becoming pervasive at that time, and I decided to recycled them, I started creating my own glass tiles and building sculptures and stained glass modules whose contact and manipulation are less restrictive ... My thoughts were quickly flowing into design ... The structure of trees with their translucent leaves ... feathery ... opened to illustrate my desire to create full and empty spaces where the dynamic fluidity of life is a priority ... I then distributed in the workshop to implement all these ideas ... Since then, my artistic search flows in this direction, where the alchemy ... the materials metamorphoses, the alliance of the fire ... water ... air ... earthenwares ... metals is a never ending story ... Now I get bottles thrown on the sidewalk ... in the gardens ... in public places to recycled them into daydreaming drops ... Maru.

RECYCLED GLASS

STAINED GLASS

STAND STRUCTURE

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RAJAPACK Foldable plywood export boxes

The artist uses a shipping company specialized in Fine Art Transportation: TNT.

Item will be shipped from France in it's custom Rajapack plywood box and wrapped in biodegradable Green Cell Water Resistant Foam (GCE) from Landaal Packaging Systems.

The Artists uses the Foldable plywood export boxes. Plywood boxes are immensely strong and capable of withstanding arduous transportation conditions. They are the ideal case for air-freight due to their low moisture absorption, low weight and immense strength. Plywood boxes are manufactured from 6 mm thick plywood, consisting of a lid, base, and riveted steel, hinged, collapsible frame. Reduced storage costs: in flat form the boxes occupy only 10% of the space of an equivalent ready assembled crate. Flat packed in three parts. Products complying with international regulations ISPM15.

More:

http://www.tnt.com

http://www.rajapack.co.uk

http://www.landaal.com

Shipping prices include plywood box and foam.

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ADDRESS

SHIPPING

LANDAAL ECO-FRIENDLY FOAM

GROG CLAY BASE STRUCTURE

Grog, also known as firesand and chamotte, is a ceramic raw material. It has high percentage of silica and alumina. It can be produced by firing selected fire clays to high temperature before grinding and screening to specific particle sizes. High grade fire clays can withstand temperatures of 1,775°C (3,227°F). Its melting point is approximately 1,780 °C (3,240 °F). Its water absorption is 7% maximum.

Grog is used in pottery and sculpture to add a gritty, rustic texture called "tooth"; it also reduces shrinkage and aids even drying. This prevents defects such as cracking, crow feet patterning, and lamination. The coarse particles open the green clay body to allow gases to escape. It also adds structural strength to hand-built and thrown pottery during shaping although it can diminish fired strength.

This sculpture has first been baked at 800 °C (1,472 °F), then exposed to wood smoking. The optimal conditions for smoke are low, smoldering temperatures between 570 and 750 °F (299 and 399 °C). This is the temperature of the burning wood itself, not of the smoking environment, which uses much lower temperatures.

In archaeological terminology, 'grog' is crushed fired pottery of any type that is added as a temper to unfired clay. Several pottery types from the European Bronze Age are typologised on the basis of their grog inclusions.

VITREOUS ENAMELS ON GROG CLAY BASE

Vitreous enamel, also porcelain enamel, is a material made by fusing powdered glass to a substrate by firing, usually between 750 and 850 °C (1,382 and 1,562 °F). The powder melts, flows, and then hardens to a smooth, durable vitreous coating on metal, and also glass or ceramics. The fired enameled ware is a fully laminated composite of glass and metal. Enamel may be transparent or opaque when fired. Vitreous enamel has many excellent properties: it is smooth, hard, chemically resistant, durable, scratch resistant (5-6 on the Mohs scale), long-lasting color fastness, easy-to-clean, and cannot burn. Enamel is glass, not paint, so it does not fade with UV light.

Maru’s developed her technics while living in Limoges, enamel capital of France and a famous center of vitreous enamel production. Limoges became famous for champlevés enamels (vitrious enamels on relief) from the XIIth century onwards, producing on a large scale, and then from the XVth century retained its lead by switching to painted enamel on flat metal plaques.

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Unique, signed et numbered. The sculpture is real size.

The sculpture is real size (approx 13x13.7 in / 33x35 cm).

CONTACT

"Fire is the principle of all things. It is the reality of the movement, and the first and last state of the cosmos through its cycles. Things are never completed, but continually recreated and transformed by forces collapsing in the phenomena. Things are assemblies of opposing forces and the world is a mixture that must be stirring constantly for them to appear”. Heraclitus of Ephesus (c. 535 – c. 475 BCE)

“My research in this visual direction is where the alchemy ... the material metamorphoses, the alloy of the fire ... of the water ... of the air ... of the Earth ... of the metals is a never ending story ...” Maru

Maru [Maria Hernandez] is a Venezuelan-French Fine Artist, Sculptor. Poetic expressionist and eco-friendly, she works with millennium lands, water, air, fire, porcelain and recycled glass bottles! Her artistic initiative meets a variety of materials and techniques from the XVIth century to create organic microcosms where the macrocosm takes its roots in lands and chinas... bronze and wax... inks and acrylics... multicolored glass and enamels... Bodies and souls melted in the imagination, she transforms them, such the alchemist in search of dreams, with Life for muse, with this vision of universality always present...

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