Tribal Art catalogue - June 2018
We wanted to share our Tribal Art catalogue we did for the Hong Kong auction house Alyes Auction in 2018.
The syncretic art of Josep Escarrant
The syncretic art of Josep Escarrant
Today we had the chance to meet the artist in his studio in the south of France.
Josep Escarrant (JS40) absorbs the cultural and pictorial influences that surround him from an early age. During many travels he developed an assertive political conscience which he continues to sharpen to this day. After a detour to the Central Saint Martins School of Arts in London and a period of work in the film industry in France and the Caribbean, Josep Escarrant begins to produce works of Street art.
Suerte Fuerte Muerte All Over, spray bomb on canvas, 70x 70 cm, 2019 © Josep Escarrant
His practice then takes a form of Syncretic Art, a syncretism of collage, inspired by graffiti, Haitian vévés, forgotten Cuban pictograms, secret symbols and superstitions from around the world. Syncretism, a term originally religious and philosophical, is the synthesis of two or more cultural traits of different origins, giving rise to new cultural forms. Today we would speak of interbreeding, sampling, but this concept also finds an echo in the Appropriationist movement founded in New York by Sherrie Levine in 1977.
Judge Fang, Lwalwa Muerte & Songye Suerte, Wood masks, 2019 © Josep Escarrant
“I appropriate the images to express both my need for commitment and sublime distancing. So I hope that in my work there will be a fragile peace between my attraction to these ideals that these images show and my desire not to have them.”
Papeles, Collage & gouache on paper, 30 x 40 cm, 2020 © Josep Escarrant
It is also a primitive way of seeing the world for the artist who practices a global and undifferentiated apprehension of the outside world by juxtaposition. JS40 inscribes his syncretic practice in the high tradition of a symbolic space that constantly feeds on reading and travel (geographical and imaginary). He thus creates new associations composed of elements of a different nature, even disparate, but they are on the plastic level treated with the same stylistic approach and great technical rigor.
Today we had the chance to meet the artist in his studio in the south of France.
“I’m interested by the idea that images can have an incidence on reality, like the prehistoric shamans “calling” the animals they painted on the walls of caves.”
Josep Escarrant what can you tell us about yourself?
Without going as far as Banksy in terms of anonymity, I do not wish to extend myself on my personal life and I’d rather have people concentrating on my work. I can tell you I am born in Mexico and I have travelled to many countries, this explaining the influences found in my work. I suppose I can also mention that although I am largely self-taught, I studied for a year in the Central Saint Martins School of Arts, which was a very positive experience. To conclude on this desire to remain partially anonymous, I will add that my last name, Escarrant, means bandit in Occitan and Catalan, and as you well know all true bandits work with a mask.
What is your work inspired from?
I mainly find inspiration in the symbols that have been created by humans across space and time in order to influence the world around them. I’m interested by the idea that images can have an incidence on reality, like the prehistoric shamans “calling” the animals they painted on the walls of caves. Folk culture as always produced, twisted or reinterpreted symbols and this use of images fascinates me. Tattoos, graffiti, ex-votos, Haitian vévés and most of non-western art forms have in common the purpose of shaping the world rather than describing it.
Kalavera Mexikana, Linocut print, Edition of 10, 62 x 40 cm, 2020 © Josep Escarrant
Could you give us an example?
For example, the trilogy of words FUERTE SUERTE MUERTE recurrent in my work must be understood as a spell summing up our human existence, a magic spell in the antique meaning of abracadabra, a spell which in past times would have been engraved on an amulet or repeated as a mantra. Another example would be the reinterpretation of African and pre-Columbian statues and masks that I engrave with symbols from other cultural groups in order to find new syncretism.
Which artists have influenced you?
On top of all the anonymous artists mentioned above, some of the artists that have most influenced me are the painter Kee Van Dongen, the Mexican engraver José Guadalupe Posada and the street artist Banksy whose work I discovered in 2004 during my stay in London.
Dogon Flash, Gouache on paper, 30 x 40 cm, 2019 © Josep Escarrant
What can you tell us of the techniques you use?
The techniques I use have been greatly influenced by the art supply specific to graffiti such as spray paint and paint markers. I work on paper and canvas. I started out by working on cardboard picked of the street but this material doesn’t age well although it’s still my favourite. I’ve been working with linocut for some time, and I enjoy the fact that the finish is never the same on each piece out of a series of 10 diptych prints.
What are your plans for the future?
I still have tons of sources to look into, for example I’m currently looking into the Marseille’s Tarot cards, the Chinese I Jing or Book of transformations, and I’m working on Nawal portraits inspired by Mayan astrology. In terms of technique, I’m trying out with terra cotta, wood and papier-mâché.
Fuerte Suerte Muerte, Inks on Kraft paper, 60 x 40 cm, 2017 © Josep Escarrant
The Little Masters
The Little Masters
Our selection of paintings ranging from XIXth century to mid XXth century
We are pleased to present a new project in which our team started working with passion this year. We decided to gather a collection of paintings and objects dating from the 19th century to the middle of the 20th century to explore an era that saw the birth of modernity in artistic creation.
The fruit basket, Roger Pouillat (1902-1990), oil on cardboard, 55 x 38 cm, Ca. 1930
© Saguaro Gallery
This small corpus of works that we have gathered is the fruit of a long-term work, it strives to represent artists that the history of art has often forsaken in spite of their great talent. These are works of anonymous or by the hand of little masters that we highlight. We have created a category The Little Masters in our menu of artists, you will find there our selection of works for sale.
View of the Jette, Alexandre Tielens (1868-1959), Oil on wood panel, 33 x 23 cm, Ca. 1920
© Saguaro Gallery
It was also for us the opportunity to deepen our research on primitivism, because from the beginning our gallery is dedicated to presenting artists who find their inspiration in the so-called primitive arts. We can announce the forthcoming of beautiful catalogues that we will be happy to share with you.
Étretat, Walborg Levoy (?), Oil on panel, 45x 37 cm, Ca. 1930 © Saguaro Gallery
You can follow our selection of paintings available on Instagram at @lespetitsmaitres ⚡️🎨⚡️
Back to the Future
Back to the Future
Ranging from Tribal arts to the latest contemporary artists this collection of works intends to shine a light on the aesthetic thread that links great artists throughout time and space.
We wanted to present our catalogue of the Back to the Future sale that we organized in association with LiveAuctioneers. You will find our selection of works of Contemporary Art and Tribal Art.
The sale went well and some objects joined prestigious collections, including this Njo Nyeleni couple of Bambara culture acquired by the family collection of the artist Fernando Botero.
Njo Nyeleni couple of Bambara culture, Mali, Wood, Early XXe century © Saguaro Gallery
And also this beautiful pair of plastograph by Nigerian artist Bruce Onobrakpeya who joins a private collection of African Modern Art in Parkland, Florida.
Egben Vera Okhore, Bruce Onobrakpeya, Plastographe, 78 x 54 cm, 1986 © Saguaro Gallery
Shapes of Magic
Shapes of Magic
A glance back at 2018, Saguaro’s first Tribal art exhibition in Paris
We wanted to share a few pictures of our first Tribal art exhibition in the Latin Quarter of Paris back in 2018. The artefacts presented then were; three classic African artefacts, five pre-Columbian statues, a 19 th century Mexican mask as well as two contemporary African art pieces. On this occasion, Saguaro Gallery had edited a catalogue presenting our collection along with pieces belonging to David Norden, famous Tribal art dealer based in Antwerp, Belgium.
The catalogue of our exhibition Shapes of Magic, 11-16 september 2018, Paris © Saguaro Gallery
Here is the presentation of the exhibition and an interview published in 2018:
The exhibition Shapes of Magic finds its origin in the meeting of two generations of Tribal art enthusiasts: David Norden, well-established Tribal art dealer in Antwerp and Raphaël Colombani Tribal art expert and graduate of the Ecole du Louvre in Paris. The exhibition showcases a selection of prestigious artefacts from private collections. Embark on a voyage through shapes and discover the rituals and history of the African and American continents. These artefacts bear witness of the civilisations that crafted them and give an insight on the extent of their imagination.
How long have you been in relation with Tribal art?
My passion for Tribal art goes back to childhood. I was lucky enough to travel to Africa and America as a child, and my passion comes from the fascination produced by the ethnic groups that produced this art. My first aesthetic shock was probably the mural paintings of the Ndebele on the high plateau of Transvaal, South Africa. I was about 6 years old and I clearly remember being amazed by the beauty of the people and their art.
A Ndebele village, Mpumalanga, South Africa © Creative Commons
As a collector, is there a first artefact that spurred your passion?
In my case, passion came not in the form of a particular artefact but through a group of artefacts that I first saw in the Pavillon des Sessions, in the Louvre museum while studying in the Ecole du Louvre. After seeing and studying a number of artefacts from ancient civilisations, discovering these masterpieces of Tribal art came as a real revelation, a truly magic moment. I remember leaving the showroom full of energy and with the curiosity to know more about these pieces and the ethnic groups they belong to.
Pavillon des Sessions, Musée du Louvre © Creative Commons
What about the first piece you purchased?
I bought my first piece in an auction sale; it’s a Peruvian Vicus stirrup vase that I have preciously kept to this day.
Is there a particular artefact you would particularly like to acquire?
I dream of acquiring a beautiful Jaina island statuette from Mexico. But authentic pieces are rare, and if I found one I’m not sure I could part with it.
What is the value of the artefacts you sell?
As much as possible, I try selling pieces that truly amaze me and that I could keep in my personal collection. Like other collectors I look for artefacts with a story, the context of its creation and the course it took largely contribute to the value of the piece. Aesthetics are important but personal taste varies widely from a person to another so I believe it’s the “magic” the object carries that makes its value.
Janus Dan Guardian Head, Ivory Coast, Wood, Early XXth century, H. 31,8 cm
Deble Senoufo statue, Ivory Coast, Wood, Early XXth century, H. 118 cm
© Saguaro Gallery
Which personalities have inspired you in the Tribal art market?
I’ve had the opportunity to meet different generations of art dealers and collectors in France and Belgium; I enjoy listening to their anecdotes and personal stories, and learn through their experiences. David Norden has taught me many things; I’m also close to Dimitri André, a central figure in this domain, but also the famous expert Serge Reynes. Above all, I’m really happy to see my generation is today entering this Tribal art world with passion.
How do you see the future of the Tribal and African art market?
I have the feeling the market is in a transition period, with a clear generation change, with dealers trying to find a new generation of collectors. The Asian market is growing but it’s a little early to see if these collectors will be investing in pre-Columbian or African art. The acknowledgement these last ten years of Modern and Contemporary African art is very positive and could lead collectors to rediscover Classical African arts. The part played by museums and cultural institutions is essential in the acknowledgement of these ethnic groups, and the role played by the Quai Branly museum is remarkable in bringing new visitors to these arts. I’m also enthusiastic about the opening of museums on the African continent such as the Museum of Black Civilisations in Dakar, Senegal.
Luba-Songye mask, RDC, Wood & kaolin, Early XXth century, H. 36 cm
Mexican Death mask, Mexico, Wood & pigments, Early XXth century, H. 37 cm
© Saguaro Gallery
The exhibition was a success with artefacts going to prestigious collections such as Hunting Scene (ca. 1960, Oil on paper, 35 x 45 cm) by Congolese painter Mwenze Kibwanga acquired by Pierre Loos.
Hunting Scene, Oil on paper, 35 x 45 cm, Ca. 1960, Mwenze Kibwanga © Saguaro Gallery
Or this rare Janus Guardian Head of the Kedie family presented by Sotheby’s in New York joining the collection of a famous Parisian editor.
Janus Dan Guardian Head, Ivory Coast, Wood, Early XXth century, H. 31,8 cm © Saguaro Gallery
Bété mythology
The sublime Alphabet
Frédéric Bruly Bouabré
Frédéric Bruly Bouabré (1923-2014) was an Ivorian artist and poet. He was the inventor of a specifically African writing to save the culture of the Beté people from oblivion. He created a complete alphabet consisting of 440 monosyllabic pictograms which he illustrated on small cartolin cards. By using this writing he transcribed the tales and mythology of his people.
“Une explosion de croissance s’est produite” - 19 x 15 cm - 02.04.2008 - © Saguaro Gallery
His poetic research was published in 1958 in Notes Africaines, in which Théodore Monod offers a long study on the Bété Alphabet. Brought together under the title "Knowledge of the World", his work consists of numerous series of drawings which have become a true cosmogony over the years.
“When I draw, what I really care about is my thoughts, and I revere my ideas. […] When I write, it’s as if I was drawing letters.”
“Les femmes et leur beauté” - 19 x 15 cm - 20.03.2005 - © Saguaro Gallery
These thousands of drawings made day after day since the 1950s reflect his immense curiosity, his African roots, his encyclopedic ideal. These works are rare and highly sought after. They are exhibited in large collections and museums, such as the Centre Pompidou in Paris and the Mamco in Geneva.
© MAMCO Genève - 2006
Film extract of “Frédéric Bruly Bouabré l’universaliste” - Philippe Lespinasse & Andress Alvarez - © Lokomotiv films Lausanne - 2010