Discover the contemporary work of Frederick MAROSELLI

STUDIES:

1969   Initiation to Sculpture by Albert FERAUD - 1969

1970   Atelier Meth de Penninghen and Jacques d’Anddon - Paris

 1971   Academy of Art Roederer - Paris

1973  Ecole Nationale Supérieure des Beaux Arts de PARIS - Atelier  CESAR and M. CHARPENTIER (1973 - 1976)

RESEARCH and ACHIEVEMENTS:

Monumental Achievements in Stainless Steel

Participation in achievements of monumental sculptures with A. FERAUD and L. KIJNO (1976 -1978-1979-1981- 1982)

Research of animation of the grounds (Cabinet Auger - PARIS)

Animation of blind walls

Research in collaboration with various photographic firms for a realization of moving sculptures - PARIS

Research and creation of perfume bottle for Givenchy - PARIS

Creation of furniture sculptures, creation of portable sculptures (Jewelry)

SOME ACHIEVEMENTS MONUMENTALES:

. Tree of Light - 3 meters in SEVRAN - College (Seine Saint-Denis)

. Stainless Steel Sculpture - 5 meters in BONDY - College (Seine Saint-Denis)

. Bas - Relief - 3 meters in BONDY - College (Seine Saint-Denis)

. Stainless Steel Sculpture - 8 X 5 meters in GIVORS - College (Rhone)

. Stainless Steel Bas Relief - 3 meters in SAINT-GERMAIN - School ( Haute-Saône )

. Stainless Steel Sculpture ‘’  Desert Ship ’’-  10 X 8 X 4 meters in RIYADH ( Saudi Arabia )

. Stainless Steel Bas Relief - 2 X 1 meter - Pizzeria du Lac in LUXEUIL-les-BAINS ( Haute-Saône )

. 2 Stainless Steel Sculptures - 2 X 1.5 meters in SAINT-BARTHELEMY - School ( Haute-Saône )

. Stainless Steel Sculpture - 2 meters - Museum of BESANCON - F.R.A.C (Doubs)

. Iron, Stainless Steel, Bronze Sculpture - Hotel of the REGIONAL COUNCIL of FRANCHE-COMTE

. 2 Stainless Steel Bas Relief - 1.5 X 3 meters in LURE - College (Haute-Saône)

. 2 Stainless Steel Bas Relief - 2 X 0.80 meters in COURCHATON - School (Haute-Saône)

. Stainless Steel Sculpture - 6 X 2.50 meters - VIENOT District - ‘’Mother House’’ of the FOREIGN LEGION - AUBAGNE ( Bouche du Rhone )

. Stainless Steel Sculpture - 4 X 2.5 meters - S.I.M.A Company - BEAUNE ( Côte d’Or )

. Steel Sculpture - 2 meters - ‘’Casino Paradise’’ - LUXEUIL-les-BAINS ( Haute-Saône )

. Bas Relief Steel - 2.5 X 1 meters - CRANS MONTANA (Switzerland)

. Steel Sculpture - 2 X 0.5 meters - MONTANA (Switzerland)

SOME TROPHIES:

. Golden Rams - Young Economic Chamber Trophy - 1985

. CANON - DIJON - 1986

. Great Night of French Elegance - 1987

. Twinning City of SALSOMAGGIORE (Italy)

. 10th PARIS-DAKKAR -‘’Tree of TENERE’’ &àgrave; the memory of Thierry SABINES.

. Trophy ‘’Thierry SABINES’’ V.S.D HUGET Memorial - MONTHLERY

. ‘’ Handlebar d’Or’’ - SEKOIA - International Events - Motorcycle - PARIS

. ‘’FRED II ‘’ - SEKOIA - French Supermoto Championship - PARIS

. Sports Trophy and Arts Trophy - GENERAL COUNCIL of Haute-Saône

. Production of 8 Medals for the ‘’GRANDES DISTILLERIES PEUREUX ‘’ for the FRANCY FOOD SHOW’’ in NEW YORK

ACQUISITIONS:

. FRAC of FRANCHE COMTE

. MUSEE de SAINT-DIE des VOSGES

MISCELLANEOUS:

Thesis subject for the DEUG in Art History in 1996-1997. Faculty of BESANCON of Misses Frédérique MARCHAL and Audrey GARY.

Donation of a monumental stainless steel sculpture '' Morrigane '' to the city of Riquewhir - Alsace

Donation of a steel sculpture '' Marathonien ''  to the Russian Embassy in Paris

SOME EXHIBITIONS ABROAD:

1975 . BADEN-BADEN - GERMANY

1976 . Palais des Beaux-Arts - ROME - ITALY

1977 . Grand Salon de QUEBEC - CANADA

1987 . Palais des Congrés de SALSOMAGGIORE - ITALY

1994 . CRANS MONTANA - SWITZERLAND

1995 . CRANS MONTANA - SWITZERLAND

1996 . BEIRUT - LEBANON

1999. LIEGE - BELGIUM

2000. ‘’ SAUSMAREZ MANOR ART PARKS’’ International - St Martin - GUERNSEY. ‘’GALLERY DIELEMAN’’ - BELGIUM

2001. ‘’SAUSMAREZ MANOR ART PARK ‘’International- St-Martin - GUERNSEY. ‘’BELVOIR CASSTLE ART PARK’’ - GRANTHAM LINES - ENGLAND

. ‘’DRUIDSTONEART PARK’’ - CANTERBURY – ENGLAND

2002. ‘’SAUSMAREZ MANOR ART PARKS ‘’ International -St Martin – GUERNSEY

1. . State Bank and Savings Bank - ‘’Galerie Am Tunnel’’ – Luxembourg

2004. 4° PILZEN Drawing Biennial - CZECH REPUBLIC

2005. MONTREUX ART GALLERY - SWITZERLAND

2006 . ‘’EUROP ART 2006 ‘’ - GENEVA - SWITZERLAND - SPAIN

2007 . ‘’ Autumn Fair ‘’ - SARRIA - GALICIA - SPAIN

2009 . ‘’ Autumn Fair ‘’ - SARRIA - GALICIA - SPAIN

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“In the continuity of the fifties, the profusion of research, following the restoration of the economy, and favored by the addition of tools adapted to the

treatment of other materials, has led sculptors to areas still unexplored.

Metals then lend the roughness from their shell to the artist's enterprises, because it is no longer a question of producing beautiful objects cast in the block, but of breaking up the material to recompose it by a generally additive system, rather than by subtraction.

It is therefore a new sense of reality that is established, and by the same token, another mode of perception of space and of relationship with the world of men.

Frédérick Maroselli belongs to a generation of artists, whose sculpted work is an extension of these pivotal years, but with structural, technical and spiritual devices that correspond to his temperament and training.

Attracted to art at a very young age, and more precisely to the third dimension, he drew with ardor and made his first plaster casts, without considering the figure as an obligatory passage. Consequently  immediately freed from recognizable signs, his works find in steel and stainless steel the substance that suits their corporality, the articulation of their textures and their balance.

Refusing all formalism, since he is a follower of the hierarchy of forms, we rarely notice lyrical panic in his work, in that each frame is the object of a

concerted organization, but where the constructive gesture is never restrained. And if at first glance, everything seems to freely deployed in branches, sometimes in tiers or in strips juxtaposed vertically or horizontally, the distribution of the units obeys an internal order which corrects the gaps and regulates the breathing of the rhythms.

With the experience now acquired, and with it the taste for measure and synthesis, Frédérick Maroselli decides to bring a variation by patinating his pieces by means of

a dark wax which connotes the steel of a tonality contrasted and detaches the changing tone of his epidermis. But first, he carefully chooses his plates of

metal according to his mental patterns, then skins them, twists them, shears them, hollows them, bends them, straightens them, stretches them like ‘’Eiffel Bow’’ or scarves them

as in ‘’ Giant's Causeway’’ to then seal their junction with the weld mesh, taking care to the exact calibration of the elements.

Occasionally a more compact, if not fragmented, invoice creeps in, where a discreet geometry slips in, like the ‘’Pieces of Oppidum’’, flanked by a panoramic turret, complementary to the interaction of forms.

Now, what specifies in parallel the sculptor's process, besides the long practice of martial arts, which transmitted to him the distancing and the self-discipline, is the respect for nature which he integrates, at his way, in his trajectory the metamorphoses, because he has always felt close to the Far Eastern aesthetic.

Moreover, he is not unaware that for Orientals, nature is culture itself, provided that the strength and vitality of this tradition are in accordance with the capacity of each being to transgress his own freedom, Frédérick Maroselli has given himself the means to do so. Also, we can identify in many of his architectures, the repercussions of his connivance with the natural kingdom, through the delicate curves, the fluidity or tightening of the exfoliations, the twinning of the ramifications, a whole vegetation made up of stems and corollas, which beyond their analogical link, give a sensitive form to the transitory and to duration.

Solid and homogeneous, between nature and culture, reflection and feeling, the sculpture of Frédérick Maroselli stands as close as possible to the living. »

                                                                                                                                                                                                                GERARD XURIGUERA

                                                                                                                                                                                                                        Paris on 11-03-2010

                                                                                                     ATRINET analysis  of the work of Frédérick Maroselli 

                                                                                                           Classification: A170 - B210 - C150 - D115

A  FORMALIST : 

The first criterion concerns the formalism of the work: what do we see when we look at a work, what type of formation is given to see at first glance? Is it rather abstract, rather figurative..., etc. (classified from the most "immaterial" to the most "realistic")

                                 A 170:    Mixed Abstract (between geometric and informal construction)

from ''Field Painting'' to ''Abstract Expressionism'', monopolization of pictorial space in the increase of its limits ''all over'' (Mark Rothko, Jackson Pollock, Riopelle, Joan Michell, Judith Reigi, ...)

B:   MATERIALITY

The second criterion concerns the materiality of what is given to see. Is it a pure concept, a play of materials, a diverted object? etc (ordered from the most 'intangible' to the most 'real')

                                B 210:  in materiality structured, with preeminence of materials

their thickness, their composition or the rather structured architectural work (how the materials are "built"), are the most important here (Eugèle Leroy, Bertrand Lavier ...)

 C:  BODY / SPIRIT INVESTMENT

The third criterion concerns the "investment" of the artist in his work.  With what Body / Spirit ratio does the artist invest himself in his work? Classified from the most "Intellectual" (conceptual art, ...) to the most "physical" (ex: Body Art ...)

                            C 150: between "Sense" and " Essence ''

Between the material and bodily necessities of ''Existence'' and the multiple questions about its '' Essence '' (from M'nch's Scream to Thomas Hirschhorn's installations, from Karrel Appel's Scream to Fancis Bacon ....)

D  Communication

The fourth criterion concerns the '' communication' aspect. Does the artist have a deliberate desire to communicate a message of some kind through his works? (ranked from the most 'spiritualist' to the most 'societal')

                           D 115  :  via the signified in various narratives or symbolswhether they are allegorical, metaphorical (the materials of J. Beuys ....) analytical (the "Fibonacci sequences", of Matri Merz, or those of Robert Filliou ...), critical (from Henri Cueco to Hans Haacke or Guillaume Bijl,...)

Free, indomitable, allergic to fashions and to single thought, Frédérick Maroselli is a totally atypical sculptor. Initiated to sculpture by Albert Féraud and assistant to the artist from 1969 to 1980, he evolved in Paris in the world of contemporary sculpture and the abstract movement orchestrated by various artists including César. He attended the Meth studio of Penningen and Jacques d'Anddon, the Roederer Academy of Art and the Ecole Nationale Supérieure des Beaux Arts in Paris and thus perfected, with the greatest, his artistic training. A stint in the studio of César and Charpentier from 1973 to 1976 confirmed his tastes and desires. Versatile and passionate, he participated in the creation of monumental sculptures in stainless steel, works in collaboration with various photographic firms to create moving sculptures and executes perfume bottles for Givenchy. This pure-bred Parisian asserts a pronounced taste for independence. The world of abstraction allows him to escape completely and give free rein to his overflowing creativity. "Abstraction" emphasizes Frédérick "erases the constraints of representation. It is the domain of infinity and offers a space of immeasurable freedom." For this strong and impulsive character, this universe is essential to his development. Attracted by the multiple possibilities of stainless steel, he created his first monumental works. "The sculpture" specifies the artist "is always mounted on the ground. It is like vegetation, it must grow on the spot. We start from a general idea that evolves according to the requirements of the place and the feelings of the sculptor. On the ground we can grasp the volumes and rearrange the pieces in order to create a real harmony". The artist first creates a stainless steel model. The various pieces are then executed in the workshop and transported to the assembly site. Stainless steel is a very hard material that often requires industrial tools. Shears, grinders, bending machines and folders are part of the sculptor's toolkit. "The living side of the steel is obtained by degreasing and brushing the pieces," he says. "Brushing allows you to obtain certain reliefs on which the light plays. It also gives optical effects." After having dug, concreted the location of the sculpture and placed the frame that will provide the anchor points, the assembly of the latter can begin. Depending on the sensitivity of the sculptor and the space, the pieces will be assembled, welded to give the best of themselves, capture the light, take possession of the place and flourish in a burst of astonishing forms. "Steel is a material that I like" emphasizes Frédérick "because it must be tamed. It offers an exceptional freedom of expression but paradoxically brings many constraints. I like this perpetual fight with matter. I appreciate these recycled materials because we can create from existing unusual shapes or completely transform the pieces. The possibilities are endless. "Whether monumental or small, Frédérick Maroselli's works seem to "live" and radiate internally. Wrapped in sensual curves or bristling with arrogant, folded, pleated, patinated or enameled shapes, they play with light and place to better challenge us, seduce us and make us dream. "The role of sculpture" indicates Frédérick "is to make us dream but also to encourage reflection and allow everyone to open doors". An interesting journey that risks shaking our neurons for our greater good

.Marie-Jo GACEK- Passion Grand Est