Objects:

Jewelry, design, sculpture

Hereunder

Telling stories

Asking questions

Speaking words without words

Charles Louis Hector Daumerie (b. 1968, Belgium). 'Griffe', sculpture representing bird claw – hammered, welded, patinated and partially painted steel. The artist intended for the sculpture to stand or be suspended, therefore there it is fitted with an internal wire for suspension. Dimensions approx. 124 x 125 x 85 cm. Weight under 20 kg.

Price upon request.

"Untitled"

Project for a monumental sculpture.

Charles Daumerie 1998.

Iron, brass.Dim.Width 1,8m, Height 3m, Depth 0,16m

"Renaclerican"

Project for the St. Elisabeth Park in Brussels. The project was pre-selected with 20 others, though never created in full size.

Charles Daumerie 1996.

2 iron pipes Ø0,30 x6m, 4 "horns" in hammered brass,one polished aluminium disc, cut in two,, each one mounted on a ball bearing system. The concavity of the disc, catches the wind and make each part of the disc turn vertically, in opposite directions.

Dim. Width 3,5-4m, Height 6m, Depth0,3-0,6m

The "Renaclerican"is a door. A process of unity and tearing apart... and flying...

"Petits-Petits"

Took part in the exibition Birdinvest- Leprojet Fou et Genereux instigated by the Belgian sculptor Jo Dilo. This aimed at promoting conciousness about the use of pesticides.

The mirrors that cover the birdshouse aim at making it dicreet, reflecting leaves and branches in its surroundings. However, when you come closer, it's your own image it reflects.

Are we then intruders, or was there something that called us?

The birdshouse is a refuge. Its charred roof and cracked witnesses violence, as if a fire has taken place. An accident or a desire to harm this microsanctuary?

It is dark in there. Who's hiding?

Hard to say. Alone and deep inside a pair of eyes shine with a dull glow, shifting intensity as a gust of wind in the trees, a cloud, creates light change. Those eyes don't seem to want anything. They just are there...

Around fly the butterflies.

The sculpture was a reflection on our use of pesticides and our risponsibility on the fine balance in our environment as well as what is dearest to us, our childrens innocence.

Tikøb, November 2004.

Mirrors on a burned wooden structure, transparent acrylic tubes, folded polyester on piano strings.