Kong Red - 90 In
Analysis of the work
Rooted in his time, Richard Orlinski uses materials like resin and aluminum, but also marble, stone and bronze. He works on the brilliance and dullness, transparency and opacity of the materials.
The Born Wild concept
The stake for Richard Orlinski through the concept "Born Wild" is to transform negative emotions into positive vital impulses, to shift from archaic instinct to a civilized emotion. The vectors of this transformation are the aesthetics of the work, the pursuit of perfection as a sculptor and the viewer's perception. Engaged in making art accessible to all, Richard Orlinski draws on popular imagery of the icons that serve his purpose
The man and the crocodile have in common the reptilian brain, one of three human brains, a brain without memory, governed by innate reflexes, the origin of our impulses of violence. The crocodile, a species dating from the Mesozoic era, also symbolizes the adaptation and survival ability. Richard Orlinski worked for two years on the proportions of the Crocodile. In 2006, for his first series in resin, mirror polished finish, Orlinski choses a specific red. Followinghis creations, he used black, pink, blue, purple ... and precious finishes: paint with gold leaf, silver projection, diamond inlay ...
Fascinated by the artists of Pop Art and New Realism, Richard Orlinski honors Robert Indiana. He opposes the rough signification of Born Wild to a polished finish and that becomes soft. The sculpture is formed in a folding body shop according to the techniques used in F1.
This mystery and sensuality symbol icon expresses the fierce power, speed and ferocity that fall within the concept of Born Wild. Faceted like a diamond, the Panther of Richard Orlinski has a head almost four times larger than in reality.
Skull, not as vanity but as allegory of the evolution of man. The removal of the mandibular announces the regression by losing the language. The expansion of the parietal lobe limits the frontal part, where lie, the centers of the most advanced thinking. This sculpture questions the future of humanity. Progression or dehumanization.
The jaws of prodigious power with two overdeveloped canines refer to the saber-toothed cat. The ferocity of the predator, without doubt the most formidable of all time, did not prevent his decline.
Michelangelo’s aesthetics revisited by Richard Orlinski, invites us to a mirror set. David new millennium, bodybuilder archetypal masculinity, dressed in jeans unbuttoned open underpants Dolce & Gabbana, makes explicit reference to the victory of David over Goliath. To win the battle of modern times, we must act with sensitivity and not by force.
This sharp stiletto heel, animated by fantasies, also hides an allusion to a "stylet", a small terrible dagger that produces very deep wounds. Stiletto is a living sculpture by its suggestive power. Lonely shoe, the Cinderella syndrome, quest for the perfect woman.
A pair of legendary jeans pants turned into a monumental sculptural aesthetic. Animated with folds, symbols, fantasies, these unbuttoned trousers open on the void, the absence of a body.
Feared animal in the wild, the elephant is known for the violence of its attacks. Domesticated, the animal offers an image of tenderness, longevity, stability, wisdom. At the curve of its trunk meet those of his erect defenses.
Richard Orlinski reflects his admiration for the great artists of the Pop Art and the New Realism by performing a series of crocodiles in the style of Roy Lichtenstein, Keith Haring or Niki de Saint Phalle.
Allegory of the Born Wild concept, Pinup of Orlinski is a tribute to the woman. To the women as overused objects, Richard Orlinski opposes the plastic of a goddess, nudity in the tradition of classical artists. Marble has been replaced by the resin, to monochrome white of the realism the flesh color, brown hair and blue eyes. Venus can not be born in a shell in the manner of Botticelli or arising from the waves under the brush of Bouguereau. The new Venus, with its contemporary measurements, rises in the sharp jaws of a predator, symbol of the cruelty of the contemporary world.
The animals of Richard Orlinski raise a questioning of man. Seated in boxing robe, the Boxing Panther emphasizes the complementarity between the feminine and the masculine.
Open Mouth on menacing fangs, the resin gorilla proclaimed himself invincible, pounding his chest with his fists. Reinterpreting the cinematic character of King Kong. Richard Orlinski raises questions about the archaic fears concerning our animality. Where is barbarism? On the side of the animal lover or in modern civilization that kills the gorilla at the top of his phallic skyscraper?
Wild Kong Oil
More advised that the men, Orlinski’s gorilla rejects a barrel of oil. A native of Skull Island, King Kong ruled over an hostile nature, populated by prehistoric animals he knew to preserve. Understanding the dangers of pollution, Wild Kong uses his strength to rid the world of this plague.
And if the superhero from the planet Krypton had landed in the Soviet Union and not the United States? The stone sculpture of Richard Orlinski evokes the Bolsheviks sculptures. Superman reaches out, as Stalin pointing the direction to follow. Richard Orlinski questions the history through the confrontation of the two giants of the Cold War. The US vigilante might as well have embodied communist propaganda.
Richard Orlinski denounces the acceleration of time by carving a crocodile devouring an hourglass. The man of the 21st century is the victim of new technologies that continue without rest, information that assail one end to the other of the planet 24/7. Indifferent to the reptilian menace, the hourglass flows inexorably rotating on its axis.
Hanging in space, three sculptures of jeans, rise towards the sky, covered with fluorescent yellow pigment, red and blue. Behind their transparent casket, legs seem even inhabited by life, as evidenced by many folds.
U.S.S.R. 1970 Cold War ... On land: the Iron Curtain, in the sky, the Mig 25, an interceptor aircraft capable of reaching Mach 3. Inspired by the legendary pilots of this airplane, Richard Orlinski creates a work that asks indoctrination. Placed on a metal pillar, a Mig 25 pilot helmet. For breathing: an oxygen tube. To speak: a microphone. To hear: a radio. Behind the visor, the thoughts of the pilot are triggered by a command: a Soviet tribute parade to the rhythm of the national anthem.
Sitting on one leg with threatening claws, tapered wings slightly spread, the feathers of the tail deployed, the eagle by Richard Orlinski takes off. The tense lines of the head to the base of the wings underline the twist of his body. Evocative power and prestige, the eagle also symbolizes the cruelty and pride. Once again, the sculptor uses the animal metaphor to express the ambivalence of our instincts.
Symbol of adventures and dangers braved by bikers, the "Perfecto" crossed generations. The girls adopt it in the seventies and never leave it. Richard Orlinski seizes this iconic jacket. It creates a material that mimics the tough leather and sculpts each fold to make it alive.
Escaping the control of men, the wolf has led to their irrational fear. Archetype of the wild freedom-loving animal, he howls at the moon. Richard Orlinski pays tribute to the nobility of the animal.
The wolf haunts our archaic fears, it embodies our carnivorous instincts. To tame its wild nature, Richard Orlinski sculpts it with facets, increasing them on the neck and tail to magnify the thickness of its fur. The sculptor reflects the ambivalence of myth: the wolf is in attack or defense position?
To the walkman of the twentieth century, succeeded the headphones of the XXI century. Bigger, more technical, more aesthetic. By combining curves and facets, Richard Orlinski aluminum interprets the characteristics of this technological prodigy that became a fashion accessory.
Benign under a menacing look, the dragon o fRichard Orlinski originated from the Chinese bestiary. Featuring a crest on the top of the head that allows him to fly, he masters the rains and winds. Ready to pounce, his body undulates like a snake. Its facets nested within one another emphasize its movement.
Continuing his quest on violence of our instincts, Richard Orlinski carves a rearing horse, whose wild nature is controlled. Posed on its back legs and tail, he dances.
Hôtel le Royal Monceau, Paris
Inception Gallery, Paris
Markowicz Fine Art Gallery, Miami
2010/2013 - Courchevel (France)
2012 - Inception Gallery, Paris
A Leadouze Gallery, Paris
Art Cadre Gallery, Paris
Opera Gallery, London and Singapour
Galleries Bartoux, Courchevel and Cannes (France)
Place Guy d'Arezzo, Bruxelles
Art Elysées, Paris
Château de Pommard, Bourgogne (France)
Galerie des Remparts, Bordeaux (France)
Galerie Alain Daudet, Toulouse (France)
Galerie Zimmermann & Heitmann, Hambourg, Düsseldorf et Dortmund
Bel Air Fine Art, Genève
Galerie des Lices, Saint Tropez (France)
Fondation Kneipp, Luxembourg
Fouquets Barrière, Champs Elysées, Deauville, Marrakech
Pierre Cardin Gallery, Paris
Artclub Gallery, Paris
Art Elysées, Paris
Pascal Lorain Gallery, Paris
Opera Gallery, Paris
Art Partner, Paris
Art Partner, Bruxelles
Lounge Art Gallery, Bruxelles
Hôtel Metropole, Monaco
Maretti Arte Monaco, Monaco
Happy Art Gallery, Cannes
Soul Of Asia, Thaïlande
Alexis Lartigue Gallery, Paris
Chabanian Gallery, St Barth
Pulse, New York
Artcurial Gallery, Paris
Bel Air Fine Art, Genève
La Fiac, Paris
Galeria Del sol, Miami