Handmålad olja på duk i din valda storlek och ram, tillverkad efter beställning av våra konstnärer. (
Byt till tryckta exemplar Byt till digital bildförsäljning)
Välj bland våra förinställda storlekar som motsvarar konstverkets ursprungliga proportioner.
Du kan ange egna mått för att passa en specifik ram eller yta. Om den valda storleken inte matchar originalbildens proportioner kommer vi antingen att beskära konstverket eller utöka målningen med ytterligare handmålade element. En digital skiss skickas till dig för godkännande innan produktionen påbörjas.
Observera att förhandsvisningen på skärmen inte återspeglar den faktiska beskärningen eller utökningen. Endast skissen visar den slutgiltiga kompositionen korrekt.
Även om anpassade storlekar är möjliga, rekommenderar vi att du väljer en dimension från den fördefinierade listan för att bevara originalproportionerna.
Leverans över hela världen () på 3–4 veckor istället för standard 5 veckor. (23 september). Inga kompromisser med kvaliteten.
Chosebus
Reproduktionsstorlek
Anne-Marie Laureys, a Belgian artist born in Beveren in 1962, embodies a profound and ongoing conversation with the elemental material of clay. Her journey began at the Hoger Kunst Instituut Sint Lucas in Ghent, where an initial encounter blossomed into a lifelong dedication—a daily immersion in the tactile possibilities of the earth. Laureys doesn’t merely *work* with clay; she speaks its language, coaxing forth forms that resonate with both fragility and strength, whimsy and profound emotional depth.
From her formative studies, Laureys established a unique relationship with the potter's wheel. Throwing became more than a technique; it was a means of direct engagement, a physical exploration of clay’s inherent properties. This early focus on process laid the groundwork for her distinctive sculptural style. While many artists approach clay as a medium to be molded into predetermined shapes, Laureys embraces its unpredictable nature, allowing the material itself to guide the evolution of each piece. She describes this as an ongoing dialogue, a responsive interplay between intention and chance. This willingness to yield to the clay’s inherent qualities is central to understanding her work's organic feel.
Laureys’ sculptures are often rooted in the vessel form—the bowl, the pot, the container—but they transcend functional utility. She doesn’t seek to create objects *for* something; rather, she explores the very essence of containment, both physical and emotional. Her pieces frequently undergo a process of deconstruction, with rims stretched, walls pinched and folded, creating dynamic tensions and unexpected openings. This manipulation isn't arbitrary; it is a deliberate attempt to break down boundaries, to reveal vulnerability, and to suggest an interiority that extends beyond the visible surface. As she herself states, her ceramics are “metaphors for ‘feeling’”.
Laureys' work has garnered significant international attention, exhibited in prestigious venues such as the Icheon Biennale in South Korea, museums in Taiwan, Japan, and China. A particularly notable achievement was her inclusion in “Regarding George Ohr: Contemporary Ceramics in the Spirit of the Mad Potter” at the Boca Raton Museum of Art in Florida (2017-18). This exhibition placed her within a lineage of innovative ceramicists who challenged conventional notions of form and technique—a testament to her own boundary-pushing approach. Her pieces are now held in numerous private and public collections, including those of the Province of Hainaut, The Design Museum Ghent, and even The Metropolitan Museum of Art in New York.
Currently residing and working in Russeignies, Belgium, Laureys continues to push the boundaries of ceramic sculpture. Her recent work delves deeper into the idea of movement—lengthening forms, fusing vessels together to create cloud-like structures that seem to defy gravity. She is fascinated by the interplay between interior and exterior space, seeking to “hide the inside while framing the outside.” This exploration isn’t merely aesthetic; it reflects a broader philosophical inquiry into the nature of perception, emotion, and the human condition. Her sculptures are not simply objects to be viewed but invitations to contemplate the delicate balance between form and void, tension and release—a testament to her enduring dialogue with clay.
1962 - , Belgium
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Glasalternativet är endast tillgängligt i storlekar under 110 cm.
![Untitled [bird] — Lyndon Raymond Dadswell](/media/artworks/images-thumb/31/e0/31e0fab5c9502f71c531d00a84daba4b.jpg)
