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The Fondation is currently closed. It will reopen on October 9th for the "Gustave Fayet, Collector - Designer. Icons of Modern Art" exhibition".

Acacia and squash leaves

  • 1982
  • Guiseppe Penone
  • Bronze, steel
  • 240,0 x 38,0 cm

Profoundly marked by the countryside of his native Northern Italy and how it has been altered by man over the centuries, Giuseppe Penone began creating works in the 1970s, inspired by a poetic vision of nature and materials, fusing the individual and the universal. The tree, breath, the skin, a fingernail, the imprint of a hand or body or the growth rings of a tree are all paradigms for this investigation.

From his first drawings, which expanded his own skin to cover the entire exhibition space, Giuseppe Penone has attached existential meaning to the rendering of the surface. Far from simply signifying the appearance, this layer reveals a vital network that the artist emphasizes in his sculptures from the 1980s in tree bark, veined marble or, more recently, leather, all in a living continuum where human, vegetal and mineral come together.

Courtesy of Marian Goodman Gallery, New York/Paris

Guiseppe Penone

Giuseppe Penone is one of the leading figures of Arte Povera, a movement founded in Turin in 1967 which pioneered new forms of sculpture through the use of natural or everyday materials and simple gestures. Originally from an old village in Liguria, Giuseppe Penone is deeply influenced by the natural environment of northern Italy, shaped by human hands over the centuries. From the 1970s onwards, he developed a body of work based on a poetic approach to nature, leading to a reflection on humankind and its power over its environment and, by extension, over the world. Breath, skin, fingernails, fingerprints and growth rings are the paradigms of this exploration, fusing the individual and the universal, with the tree – humanity’s alter ego – as one of its principal motifs. Created using traditional materials (bronze, marble) or natural elements (thorns, stones, water), her works offer a holistic experience that engages the mind, sight, touch and smell.

In contrast to the smoothness of contemporary society, Giuseppe Penone, ever since his earliest drawings depicting his own skin being unravelled, has attached existential significance to the rendering of the surface. Far from seeing this as a mere representation of appearance, he brings to the fore, in tree bark, marble or, more recently, leather, a vital network of veins through which the fluidity of existence is expressed in a Heraclitean movement.

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