Le leurre magique
Stéphane Foucaud
Painting - 94.5 x 82.5 x 4 cm Painting - 37.2 x 32.5 x 1.6 inch
$1,733
Les 3 collines,
2024
by Stéphane Foucaud
Painting : acrylic, newspaper, Indian ink
109 x 109 x 4 cm 42.9 x 42.9 x 1.6 inch
$2,641
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About the artwork
Type
Unique work
Signature
Hand-signed by artist
Authenticity
Sold with certificate of Authenticity from the artist
Invoice from the gallery
Medium
Dimensions cm • inch
109 x 109 x 4 cm 42.9 x 42.9 x 1.6 inch Height x Width x Depth
Support
Framing
Not framed
Artwork sold in perfect condition
Artwork location: New Caledonia
Since our earliest childhood, we had been so often told these legends of evil spirits and monsters swarming in the area of the three hills, that no young person in the tribe trembled before the storytellers who related the history of this place, except to imagine the fate that the adults themselves reserved for the transgressors of this forbidden destination. Other plots of our territory also proved to be taboo: they often hid a means of protecting the place from an overconsumption of edibles of all kinds. Only the healer authorized, sparingly, entry into these pantries, if the need arose.
However, the trio of eminences eroded by the winds and dried out by the sun, bathed in boiling water because it was shallow, limited the life expectancy of any living being found there. The unpopularity of the toponym was even embedded in our invectives: "Go die at the Three Hills!" Katrané often raged when her interlocutors refused. The trade winds sometimes blew a golden dust from the cursed place and deposited it on the enormous fat leaves of grandmother's garden. The relationship that the old woman had with this fine particle worried me greatly, she gave it names before systematically depositing it at the foot of a coconut tree. Grandfather's silence did not reassure me either, I sometimes jostled him with sarcastic words: "Above all, grandpa, don't sweep at the foot of the coconut trees!" We were also very distressed by the scene we witnessed, during which Calé, caught hunting in one of our forbidden places, was whipped until he bled by the big brothers for having dared to go back up the thread of the corpuscles. In fact, this "no man's land" retained all its mystery.
However, one morning, as if nothing had happened, on board the boat that we had stopped very close to the forbidden zone, with our friends, we threw our fishing lines on the taboo side. Comforted by the non-criminal position of our canoe, at the edge of the evil border, Whane and Katrané burst out laughing, surely because of the risky and ridiculous situation in which we found ourselves. It would certainly not be the hypothetical fish caught that would betray our misdeed. However, as we were about to leave, while reeling in her line, Kat caught something quite heavy.
To our surprise, we discovered, at the end of his line, an anthropomorphic sculpture the size of an arm. It looked very much like our figurines, except that its finish testified to a mastery superior to ours, or the use of more elaborate tools. Whane suggested that this degree of artisanal perfection was a sign from the spirits to encourage us to present the object, studded with shells, to the Council of Elders. The only sign that came to mind for my part was the caress of the bamboo on our buttocks. It was finally to my grandmother that we secretly brought the precious artifact. When she discovered the object that we had wrapped in a cloth, she shuddered and nearly missed the stool on which she wanted to sit. Taken hostage by three spectators, already sitting cross-legged around her, their eyes moist with emotion, she began to reveal the story of the kidnapped statuette:
"The clan that created this "guardian" brought us much happiness and shared with ours an unparalleled know-how. While we had come to wage war against them, we found ourselves living together, on their land. A matter of lust linked to women quickly broke this harmony and incited the clan of the original mound to move. Many of ours followed them. They settled on land located dangerously below sea level, to develop fish farms between the hills. Grandpa and I were barely nine years old when our leader decided to attack the renegades by surprise, drowning the evidence of his fury by breaking the edges of the basins."
We finally understood why the Elders had classified the submerged tribe as taboo: they had also wanted to submerge a shameful story there. The boys and I prepared to return the guardian of the forbidden lagoon to the pool, but the old woman did not hear it that way. She proposed to the Committee that we make peace with ourselves and with the spirits of the Three Hills. She won her case. On the third moon, our large canoes found themselves in the bay of "repentance", after we took care to send our healer there as a scout. It was a moment full of emotion. While the children scattered flowers on the surface of the water, our little chief sent one of our sculptures to the bottom as an offering. A necessary ritual, because the one torn from the seaweed would now watch over our tribe.
About the seller
Professional art gallery • New Caledonia
Artsper seller since 2022
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Presentation
Born in Paris in 1971 Foucaud Stéphane used to say that he was born for a second at a time in 1974, the date of his arrival on the Yam Island (New Caledonia). A land still to be demystified which nourishes his artistic work charged with myths and syncretisms. His experience in a tribal environment will serve as the imprint of a pictorial practice begun during his studies of plastic arts at the faculty of Strasbourg. Scarifications and cut-out, simplified forms will impose themselves on the canvas as if the omnipresence of sculptures, markers of Kanak lands were hidden there. His expressiveness, described as “neo-tribal" by his public, will naturally turn towards Oceania and its various cultures. The local melting pot will have given him the "signs" for a mixed and rhizophagous style, making the spontaneous gestures of his brushstroke cohabit with the finesse of the pen drawing.
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