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    Michel D'Aronco


    Artiste plasticien

  • The art of Michel D’Aronco is the art of seeing the beauty of nature.
    His awareness of environmental issues makes him one of the precursors of a contemporary artistic movement serving the planet.

    Michel D'Aronco uses vine stocks, carved wood, sand, palm fiber, ceramics, bronze, burlap, raffia, string, materials often collected during his travels,link his art to the personal history of the artist.






    Totems, these spiritual sculptures, have recently taken pride of place on the art market. The new wave echoes a similar revival in the 1960s, which saw a fascination with outsider art.
    The recent article in the Financial Times bears witness to this



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  • BIO


    After studying at the UER of Plastic Arts in Paris 1Panthéon-Sorbonne, he was admitted to Capes.
    He now lives in Vence, France and practices wood sculpture and drawing.
    Around 1990; first attempts to combine various materials with wood: strings, fibers, metal, etc. In 1995-96, training
    at the Maison de la Céramique in Mulhouse. Ceramic combines with wood and other materials for
    varied productions: sculptures, panels, installations.
    He participates in various exhibitions and artistic events in France and Germany; he has
    was part of the international group of artists, “Poygon”, (F, D, CH) until
    Travel is an opportunity to discover other non-European cultures and traditional arts; as much
    sources of inspiration and triggers for his achievements.

    Michel D’Aronco uses various materials in his creations; wood, earth, canvas, fibers,
    strings, ropes, copper, mirrors, papers, as well as items found or
    manufactured; coming from his ramblings, wanderings and walks, real or imaginary.
    Inspiration is drawn from nature, travel, encounters, dreams, readings, etc.Certain subjects, themes or elements recur regularly in his creations: totems and steles;
    urns and ritual objects; talismans and amulets; characters (guardians,
    angels, goddesses…); birds.
    “Writing” is omnipresent in the works: originally simple graphic elements enliven the surface and play a decorative role; Next,
    the signs are organized to appear like writing: reference to
    clay tablets, Mongolian tamga, cuneiform writings, traces of a
    imaginary archaeology.