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Prune Nourry

L’Amazone Erogène

2021

Lithography

70 × 100 cm

Ed./108

Location: Le Puy-Sainte-Réparade, France

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1,080 € 1080.0 EUR 1,080 €

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About the artwork

With the iconic stairs of Aristide Boucicaut's Bon Marché in the background, Prune Nourry immortalizes the installation she created for this historic site. Called "Amazone Erogène", the artist offers two readings of her work. On the one hand, and echoing the use of the term Amazone, she proposes a metaphor for breast cancer, a personal experience the artist has undergone in recent years. The term evokes the severed breasts of Amazons, parallel to the surgical removal of the disease. The work also resonates with other themes dear to the artist, such as procreation. As evidenced this time by the use of the term "Erogenous", the cloud of arrows approaching the target refers to fertilization.

Expert opinion

Synonymous with "both life and death", this work against breast cancer perfectly embodies the artist's work, both immortalizing the ephemeral installation and conveying its message.

About the artist

A French multidisciplinary artist born in 1985, Prune Nourry works mainly between New York and Paris. A graduate of the École Boulle, her work seeks to raise ethical, bioethical or even demographic questions, mainly linked to balance or the lack of it, within a society or within oneself. In her sculptures, installations, performances, photographs and videos, she never hesitates to explore a variety of materials and new techniques, while collaborating with many different craftsmen and specialists. Internationally renowned, the artist is celebrated for her monumental performances around the world (Holy Daughters, Terracotta Daughters, Imbalance, L'Amazone Érogène etc.). Prune Nourry is represented by Galerie Templon (Paris, Brussels, New York) and Simon Studer Art in Switzerland.

“At a time when all museums are closed, retail outlets are open [...]. I'm lucky enough to be exhibiting my work in such a special, paradoxical context. But at the same time, this exhibition itself is paradoxical, because we're talking about life, we're talking about death, we're talking about illness, but we're also talking about desire and eroticism for young women suffering from breast cancer.”

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