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Older works.

During the first 15 years of my sculptural practice, which began when I was 22, I made a large number of bronze sculptures in a figurative vein. For a long time, I was unaware of the times in which I lived. This is because I’m self-taught, and at the time I was devoting a lot of energy to artistic foundry work, to which I was totally committed. I turned my back on this period when I left the Bronze Age and entered the digital age. It was about time.
archives bijoux
Monumental sculptures
During the first 15 years of my sculptural practice, which began when I was 22, I made a large number of bronze sculptures in a figurative vein. For a long time, I was unaware of the times in which I lived. This is because I’m self-taught, and at the time I was devoting a lot of energy to artistic foundry work, to which I was totally committed. I turned my back on this period when I left the Bronze Age and entered the digital age. It was about time. During the first 15 years of my sculptural practice, which began when I was 22, I made a large number of bronze sculptures in a figurative vein. For a long time, I was unaware of the times in which I lived. This is because I’m self-taught, and at the time I was devoting a lot of energy to artistic foundry work, to which I was totally committed. I turned my back on this period when I left the Bronze Age and entered the digital age. It was about time. During the first 15 years of my sculptural practice, which began when I was 22, I made a large number of bronze sculptures in a figurative vein. For a long time, I was unaware of the times in which I lived. This is because I’m self-taught, and at the time I was devoting a lot of energy to artistic foundry work, to which I was totally committed. I turned my back on this period when I left the Bronze Age and entered the digital age. It was about time. During the first 15 years of my sculptural practice, which began when I was 22, I made a large number of bronze sculptures in a figurative vein. For a long time, I was unaware of the times in which I lived. This is because I’m self-taught, and at the time I was devoting a lot of energy to artistic foundry work, to which I was totally committed. I turned my back on this period when I left the Bronze Age and entered the digital age. It was about time.
Years 2006 and 2009
During the first 15 years of my sculptural practice, which began when I was 22, I made a large number of bronze sculptures in a figurative vein. For a long time, I was unaware of the times in which I lived. This is because I’m self-taught, and at the time I was devoting a lot of energy to artistic foundry work, to which I was totally committed. I turned my back on this period when I left the Bronze Age and entered the digital age. It was about time. During the first 15 years of my sculptural practice, which began when I was 22, I made a large number of bronze sculptures in a figurative vein. For a long time, I was unaware of the times in which I lived. This is because I’m self-taught, and at the time I was devoting a lot of energy to artistic foundry work, to which I was totally committed. I turned my back on this period when I left the Bronze Age and entered the digital age. It was about time. During the first 15 years of my sculptural practice, which began when I was 22, I made a large number of bronze sculptures in a figurative vein. For a long time, I was unaware of the times in which I lived. This is because I’m self-taught, and at the time I was devoting a lot of energy to artistic foundry work, to which I was totally committed. I turned my back on this period when I left the Bronze Age and entered the digital age. It was about time. During the first 15 years of my sculptural practice, which began when I was 22, I made a large number of bronze sculptures in a figurative vein. For a long time, I was unaware of the times in which I lived. This is because I’m self-taught, and at the time I was devoting a lot of energy to artistic foundry work, to which I was totally committed. I turned my back on this period when I left the Bronze Age and entered the digital age. It was about time.
Years 2004 and 2005
During the first 15 years of my sculptural practice, which began when I was 22, I made a large number of bronze sculptures in a figurative vein. For a long time, I was unaware of the times in which I lived. This is because I’m self-taught, and at the time I was devoting a lot of energy to artistic foundry work, to which I was totally committed. I turned my back on this period when I left the Bronze Age and entered the digital age. It was about time. During the first 15 years of my sculptural practice, which began when I was 22, I made a large number of bronze sculptures in a figurative vein. For a long time, I was unaware of the times in which I lived. This is because I’m self-taught, and at the time I was devoting a lot of energy to artistic foundry work, to which I was totally committed. I turned my back on this period when I left the Bronze Age and entered the digital age. It was about time. During the first 15 years of my sculptural practice, which began when I was 22, I made a large number of bronze sculptures in a figurative vein. For a long time, I was unaware of the times in which I lived. This is because I’m self-taught, and at the time I was devoting a lot of energy to artistic foundry work, to which I was totally committed. I turned my back on this period when I left the Bronze Age and entered the digital age. It was about time. During the first 15 years of my sculptural practice, which began when I was 22, I made a large number of bronze sculptures in a figurative vein. For a long time, I was unaware of the times in which I lived. This is because I’m self-taught, and at the time I was devoting a lot of energy to artistic foundry work, to which I was totally committed. I turned my back on this period when I left the Bronze Age and entered the digital age. It was about time.
Years 2003 and 2004
During the first 15 years of my sculptural practice, which began when I was 22, I made a large number of bronze sculptures in a figurative vein. For a long time, I was unaware of the times in which I lived. This is because I’m self-taught, and at the time I was devoting a lot of energy to artistic foundry work, to which I was totally committed. I turned my back on this period when I left the Bronze Age and entered the digital age. It was about time. During the first 15 years of my sculptural practice, which began when I was 22, I made a large number of bronze sculptures in a figurative vein. For a long time, I was unaware of the times in which I lived. This is because I’m self-taught, and at the time I was devoting a lot of energy to artistic foundry work, to which I was totally committed. I turned my back on this period when I left the Bronze Age and entered the digital age. It was about time. During the first 15 years of my sculptural practice, which began when I was 22, I made a large number of bronze sculptures in a figurative vein. For a long time, I was unaware of the times in which I lived. This is because I’m self-taught, and at the time I was devoting a lot of energy to artistic foundry work, to which I was totally committed. I turned my back on this period when I left the Bronze Age and entered the digital age. It was about time.
Year 2002
During the first 15 years of my sculptural practice, which began when I was 22, I made a large number of bronze sculptures in a figurative vein. For a long time, I was unaware of the times in which I lived. This is because I’m self-taught, and at the time I was devoting a lot of energy to artistic foundry work, to which I was totally committed. I turned my back on this period when I left the Bronze Age and entered the digital age. It was about time. During the first 15 years of my sculptural practice, which began when I was 22, I made a large number of bronze sculptures in a figurative vein. For a long time, I was unaware of the times in which I lived. This is because I’m self-taught, and at the time I was devoting a lot of energy to artistic foundry work, to which I was totally committed. I turned my back on this period when I left the Bronze Age and entered the digital age. It was about time. During the first 15 years of my sculptural practice, which began when I was 22, I made a large number of bronze sculptures in a figurative vein. For a long time, I was unaware of the times in which I lived. This is because I’m self-taught, and at the time I was devoting a lot of energy to artistic foundry work, to which I was totally committed. I turned my back on this period when I left the Bronze Age and entered the digital age. It was about time. During the first 15 years of my sculptural practice, which began when I was 22, I made a large number of bronze sculptures in a figurative vein. For a long time, I was unaware of the times in which I lived. This is because I’m self-taught, and at the time I was devoting a lot of energy to artistic foundry work, to which I was totally committed. I turned my back on this period when I left the Bronze Age and entered the digital age. It was about time.
Year 2001
During the first 15 years of my sculptural practice, which began when I was 22, I made a large number of bronze sculptures in a figurative vein. For a long time, I was unaware of the times in which I lived. This is because I’m self-taught, and at the time I was devoting a lot of energy to artistic foundry work, to which I was totally committed. I turned my back on this period when I left the Bronze Age and entered the digital age. It was about time. During the first 15 years of my sculptural practice, which began when I was 22, I made a large number of bronze sculptures in a figurative vein. For a long time, I was unaware of the times in which I lived. This is because I’m self-taught, and at the time I was devoting a lot of energy to artistic foundry work, to which I was totally committed. I turned my back on this period when I left the Bronze Age and entered the digital age. It was about time. During the first 15 years of my sculptural practice, which began when I was 22, I made a large number of bronze sculptures in a figurative vein. For a long time, I was unaware of the times in which I lived. This is because I’m self-taught, and at the time I was devoting a lot of energy to artistic foundry work, to which I was totally committed. I turned my back on this period when I left the Bronze Age and entered the digital age. It was about time. During the first 15 years of my sculptural practice, which began when I was 22, I made a large number of bronze sculptures in a figurative vein. For a long time, I was unaware of the times in which I lived. This is because I’m self-taught, and at the time I was devoting a lot of energy to artistic foundry work, to which I was totally committed. I turned my back on this period when I left the Bronze Age and entered the digital age. It was about time.
Year 2000
During the first 15 years of my sculptural practice, which began when I was 22, I made a large number of bronze sculptures in a figurative vein. For a long time, I was unaware of the times in which I lived. This is because I’m self-taught, and at the time I was devoting a lot of energy to artistic foundry work, to which I was totally committed. I turned my back on this period when I left the Bronze Age and entered the digital age. It was about time. During the first 15 years of my sculptural practice, which began when I was 22, I made a large number of bronze sculptures in a figurative vein. For a long time, I was unaware of the times in which I lived. This is because I’m self-taught, and at the time I was devoting a lot of energy to artistic foundry work, to which I was totally committed. I turned my back on this period when I left the Bronze Age and entered the digital age. It was about time. During the first 15 years of my sculptural practice, which began when I was 22, I made a large number of bronze sculptures in a figurative vein. For a long time, I was unaware of the times in which I lived. This is because I’m self-taught, and at the time I was devoting a lot of energy to artistic foundry work, to which I was totally committed. I turned my back on this period when I left the Bronze Age and entered the digital age. It was about time. During the first 15 years of my sculptural practice, which began when I was 22, I made a large number of bronze sculptures in a figurative vein. For a long time, I was unaware of the times in which I lived. This is because I’m self-taught, and at the time I was devoting a lot of energy to artistic foundry work, to which I was totally committed. I turned my back on this period when I left the Bronze Age and entered the digital age. It was about time.
The 90’s more....
During the first 15 years of my sculptural practice, which began when I was 22, I made a large number of bronze sculptures in a figurative vein. For a long time, I was unaware of the times in which I lived. This is because I’m self-taught, and at the time I was devoting a lot of energy to artistic foundry work, to which I was totally committed. I turned my back on this period when I left the Bronze Age and entered the digital age. It was about time. During the first 15 years of my sculptural practice, which began when I was 22, I made a large number of bronze sculptures in a figurative vein. For a long time, I was unaware of the times in which I lived. This is because I’m self-taught, and at the time I was devoting a lot of energy to artistic foundry work, to which I was totally committed. I turned my back on this period when I left the Bronze Age and entered the digital age. It was about time. During the first 15 years of my sculptural practice, which began when I was 22, I made a large number of bronze sculptures in a figurative vein. For a long time, I was unaware of the times in which I lived. This is because I’m self-taught, and at the time I was devoting a lot of energy to artistic foundry work, to which I was totally committed. I turned my back on this period when I left the Bronze Age and entered the digital age. It was about time. During the first 15 years of my sculptural practice, which began when I was 22, I made a large number of bronze sculptures in a figurative vein. For a long time, I was unaware of the times in which I lived. This is because I’m self-taught, and at the time I was devoting a lot of energy to artistic foundry work, to which I was totally committed. I turned my back on this period when I left the Bronze Age and entered the digital age. It was about time.
The 90’s more....
During the first 15 years of my sculptural practice, which began when I was 22, I made a large number of bronze sculptures in a figurative vein. For a long time, I was unaware of the times in which I lived. This is because I’m self-taught, and at the time I was devoting a lot of energy to artistic foundry work, to which I was totally committed. I turned my back on this period when I left the Bronze Age and entered the digital age. It was about time. During the first 15 years of my sculptural practice, which began when I was 22, I made a large number of bronze sculptures in a figurative vein. For a long time, I was unaware of the times in which I lived. This is because I’m self-taught, and at the time I was devoting a lot of energy to artistic foundry work, to which I was totally committed. I turned my back on this period when I left the Bronze Age and entered the digital age. It was about time. During the first 15 years of my sculptural practice, which began when I was 22, I made a large number of bronze sculptures in a figurative vein. For a long time, I was unaware of the times in which I lived. This is because I’m self-taught, and at the time I was devoting a lot of energy to artistic foundry work, to which I was totally committed. I turned my back on this period when I left the Bronze Age and entered the digital age. It was about time. During the first 15 years of my sculptural practice, which began when I was 22, I made a large number of bronze sculptures in a figurative vein. For a long time, I was unaware of the times in which I lived. This is because I’m self-taught, and at the time I was devoting a lot of energy to artistic foundry work, to which I was totally committed. I turned my back on this period when I left the Bronze Age and entered the digital age. It was about time.
The 90’s more....
During the first 15 years of my sculptural practice, which began when I was 22, I made a large number of bronze sculptures in a figurative vein. For a long time, I was unaware of the times in which I lived. This is because I’m self-taught, and at the time I was devoting a lot of energy to artistic foundry work, to which I was totally committed. I turned my back on this period when I left the Bronze Age and entered the digital age. It was about time. During the first 15 years of my sculptural practice, which began when I was 22, I made a large number of bronze sculptures in a figurative vein. For a long time, I was unaware of the times in which I lived. This is because I’m self-taught, and at the time I was devoting a lot of energy to artistic foundry work, to which I was totally committed. I turned my back on this period when I left the Bronze Age and entered the digital age. It was about time. During the first 15 years of my sculptural practice, which began when I was 22, I made a large number of bronze sculptures in a figurative vein. For a long time, I was unaware of the times in which I lived. This is because I’m self-taught, and at the time I was devoting a lot of energy to artistic foundry work, to which I was totally committed. I turned my back on this period when I left the Bronze Age and entered the digital age. It was about time. During the first 15 years of my sculptural practice, which began when I was 22, I made a large number of bronze sculptures in a figurative vein. For a long time, I was unaware of the times in which I lived. This is because I’m self-taught, and at the time I was devoting a lot of energy to artistic foundry work, to which I was totally committed. I turned my back on this period when I left the Bronze Age and entered the digital age. It was about time.
The ’90s
During the first 15 years of my sculptural practice, which began when I was 22, I made a large number of bronze sculptures in a figurative vein. For a long time, I was unaware of the times in which I lived. This is because I’m self-taught, and at the time I was devoting a lot of energy to artistic foundry work, to which I was totally committed. I turned my back on this period when I left the Bronze Age and entered the digital age. It was about time. During the first 15 years of my sculptural practice, which began when I was 22, I made a large number of bronze sculptures in a figurative vein. For a long time, I was unaware of the times in which I lived. This is because I’m self-taught, and at the time I was devoting a lot of energy to artistic foundry work, to which I was totally committed. I turned my back on this period when I left the Bronze Age and entered the digital age. It was about time. During the first 15 years of my sculptural practice, which began when I was 22, I made a large number of bronze sculptures in a figurative vein. For a long time, I was unaware of the times in which I lived. This is because I’m self-taught, and at the time I was devoting a lot of energy to artistic foundry work, to which I was totally committed. I turned my back on this period when I left the Bronze Age and entered the digital age. It was about time. During the first 15 years of my sculptural practice, which began when I was 22, I made a large number of bronze sculptures in a figurative vein. For a long time, I was unaware of the times in which I lived. This is because I’m self-taught, and at the time I was devoting a lot of energy to artistic foundry work, to which I was totally committed. I turned my back on this period when I left the Bronze Age and entered the digital age. It was about time.
All the artworks of the sectionarchives bijoux
Géophysik II
Archive archives bijouoriginal watercolor by artist stéphane gantelet whith the title of artwork is xGéophysik II Archive archives bijouoriginal watercolor by artist stéphane gantelet whith the title of artwork is xGéophysik II Archive archives bijouoriginal watercolor by artist stéphane gantelet whith the title of artwork is xGéophysik II Archive archives bijouoriginal watercolor by artist stéphane gantelet whith the title of artwork is xGéophysik II
Géophysik III
Archive archives bijouoriginal watercolor by artist stéphane gantelet whith the title of artwork is xGéophysik III Archive archives bijouoriginal watercolor by artist stéphane gantelet whith the title of artwork is xGéophysik III Archive archives bijouoriginal watercolor by artist stéphane gantelet whith the title of artwork is xGéophysik III
Géophysik IV
Archive archives bijouoriginal watercolor by artist stéphane gantelet whith the title of artwork is xGéophysik IV Archive archives bijouoriginal watercolor by artist stéphane gantelet whith the title of artwork is xGéophysik IV Archive archives bijouoriginal watercolor by artist stéphane gantelet whith the title of artwork is xGéophysik IV Archive archives bijouoriginal watercolor by artist stéphane gantelet whith the title of artwork is xGéophysik IV
Bulbe IV
Archive archives bijouoriginal watercolor by artist stéphane gantelet whith the title of artwork is xBulbe IV Archive archives bijouoriginal watercolor by artist stéphane gantelet whith the title of artwork is xBulbe IV Archive archives bijouoriginal watercolor by artist stéphane gantelet whith the title of artwork is xBulbe IV Archive archives bijouoriginal watercolor by artist stéphane gantelet whith the title of artwork is xBulbe IV
Connect IV
Archive archives bijouoriginal watercolor by artist stéphane gantelet whith the title of artwork is xConnect IV Archive archives bijouoriginal watercolor by artist stéphane gantelet whith the title of artwork is xConnect IV Archive archives bijouoriginal watercolor by artist stéphane gantelet whith the title of artwork is xConnect IV Archive archives bijouoriginal watercolor by artist stéphane gantelet whith the title of artwork is xConnect IV
Géophysik V
Archive archives bijouoriginal watercolor by artist stéphane gantelet whith the title of artwork is xGéophysik V Archive archives bijouoriginal watercolor by artist stéphane gantelet whith the title of artwork is xGéophysik V Archive archives bijouoriginal watercolor by artist stéphane gantelet whith the title of artwork is xGéophysik V Archive archives bijouoriginal watercolor by artist stéphane gantelet whith the title of artwork is xGéophysik V
Bulbe V
Archive archives bijouoriginal watercolor by artist stéphane gantelet whith the title of artwork is xBulbe V Archive archives bijouoriginal watercolor by artist stéphane gantelet whith the title of artwork is xBulbe V Archive archives bijouoriginal watercolor by artist stéphane gantelet whith the title of artwork is xBulbe V Archive archives bijouoriginal watercolor by artist stéphane gantelet whith the title of artwork is xBulbe V
Dino
Archive archives bijouoriginal watercolor by artist stéphane gantelet whith the title of artwork is xDino Archive archives bijouoriginal watercolor by artist stéphane gantelet whith the title of artwork is xDino Archive archives bijouoriginal watercolor by artist stéphane gantelet whith the title of artwork is xDino Archive archives bijouoriginal watercolor by artist stéphane gantelet whith the title of artwork is xDino
Cartilage IV
Archive archives bijouoriginal watercolor by artist stéphane gantelet whith the title of artwork is xCartilage IV Archive archives bijouoriginal watercolor by artist stéphane gantelet whith the title of artwork is xCartilage IV Archive archives bijouoriginal watercolor by artist stéphane gantelet whith the title of artwork is xCartilage IV Archive archives bijouoriginal watercolor by artist stéphane gantelet whith the title of artwork is xCartilage IV
Géophysik XI
Archive archives bijouoriginal watercolor by artist stéphane gantelet whith the title of artwork is xGéophysik XI Archive archives bijouoriginal watercolor by artist stéphane gantelet whith the title of artwork is xGéophysik XI Archive archives bijouoriginal watercolor by artist stéphane gantelet whith the title of artwork is xGéophysik XI Archive archives bijouoriginal watercolor by artist stéphane gantelet whith the title of artwork is xGéophysik XI

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