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White Forest (Lou)

White Forest (Lou)
incised with the artist’s monogram and number ‘1-5’ (on the base)
bronze with white patina
77 1/8 x 42 ½ x 38 5/8in. (196 x 108 x 98cm.)
Executed in 2015, this work is number one from an edition of five
Galerie Lelong & Co., Paris.
Acquired from the above by the present owner in 2016.
J. Strick, B. K. Rapaport, C. Lilley, C. Millet, F. Nanjo and P. Gray (eds.), Jaume Plensa: One Thought Fills Immensity, Milan 2018, no. 150-151 (installation view illustrated, p. 193).
Paris, Galerie Lelong & Co., La Forêt blanche, 2016.
Barcelona, Galeria Senda, El Bosc Blanc, 2016-2017 (another from the edition exhibited).
Stockholm, Gallerí Andersson/Sandström, Jaume Plensa, 2018 (another from the edition exhibited).
Special notice
Artist's Resale Right ("Droit de Suite"). Artist's Resale Right Regulations 2006 apply to this lot, the buyer agrees to pay us an amount equal to the resale royalty provided for in those Regulations, and we undertake to the buyer to pay such amount to the artist's collection agent. This lot has been imported from outside of the UK for sale and placed under the Temporary Admission regime. Import VAT is payable at 5% on the hammer price. VAT at 20% will be added to the buyer’s premium but will not be shown separately on our invoice.

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Anna Touzin
Anna Touzin Specialist, Head of Day Sale

Lot Essay

Towering almost two metres in height, White Forest (Lou) (2015) is a striking example from Jaume Plensa’s iconic series of human heads. First begun in 2009, each work in this series depicts a girl between the ages of eight and fifteen; Plensa’s models come from varied backgrounds and are all shown with their eyes shut in powerful tranquillity. Sculpted from wood, and then cast in bronze and covered with a white patina, White Forest (Lou) is at once serene and commanding. Her face is elongated: a device Plensa uses to bestow a ‘certain spirituality’ to the person represented (J. Plensa, quoted in Y. Mun-Delsalle, ‘World-Renowned Spanish Artist Jaume Plensa Uses the Body and Letters as His Trademark’, Forbes, 29 February 2019). Indeed, these heads possess a monumental grace, a gravity which conjures ancient ruins, venerated statues and the vestiges of bygone civilisation.

Born in Barcelona, Plensa studied at the city’s Llotja School of Art and Design and at the Sant Jordi School of Fine Arts. Since his first exhibition in 1980, his work has been shown at the Fundació Joan Miró, the Jeu de Paume, the Moscow Museum of Modern Art, and the Museo Nacional Centro de Arte Reina Sofía, among others. For Plensa, ‘sculpture means the spiritualisation of matter’, creating an ‘interaction between mind and material’ which he currently explores through representations of the human form (M. Stoeber, ‘Transforming energy: A Conversation with Jaume Plensa’, Sculpture, March 2006, p. 39). For more than two decades, the figure has been the central focus of his practice, which he has rendered in variety of materials. Plensa’s use of bronze in White Forest (Lou) both locates it within a longer sculptural lineage and imbues it with a timeless dignity. At once modern and atemporal, it is a work that speaks to the whole of humanity.

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