YVES MOHY (1928-2004) - Lot 97

YVES MOHY (1928-2004) Lens, large format Very large title-shaped flat vase. Enameled stoneware proof. Circa 1960. Signed MOHY towards the base. Height: 58.5cm - Width: 56cm Provenance: Galerie Alexis Mostini, Paris: Galerie Alexis Mostini, Paris. Public collection and related work: Musée Magnelli, Musée de la céramique, Vallauris - A print from the same series, awarded at the 1966 Concours national de la céramique d'art in Vallauris, is held in the collections of this institution. Exhibition and related work: - Concours national de la céramique d'art, Vallauris, 1966 - A Lentille vase by Yves Mohy was presented at this event and won the Grand Prix. - Les pionniers de la céramique moderne - La Borne - Musée des arts décoratifs, Bourges, June 11, 2018 to January 7, 2019. A print from the same series exhibited at this event. Bibliographyand related works: - Cahiers de la céramique, du verre et des arts du feu - N° 39 de 1967. Published by the Société des Amis du Musée National de Céramique Sèvres, 1967. A Lentille vase by Yves Mohy (Grand prix du Concours national de la céramique d'art, Vallauris, 1966) on the cover of this quarterly magazine. - Les pionniers de la céramique moderne - La Borne - Catalogue of the exhibition held at the Musée des arts décoratifs, Bourges (June 11, 2018 to January 7, 2019), Éditions Ville de Bourges, 2018. Prints from the same series reproduced on pages 175 and 178. With dual training in architecture at the École des Beaux-Arts in Paris and in ceramics at the École des Métiers d'Art, Yves Mohy settled in La Borne with his wife Monique Lacroix (1931-2024) in 1955 - a village with a pottery tradition, the key to a return to the earth, which he visited several times as a student and which revealed to him the importance of stoneware in his artistic approach. There, with Jean and Jacqueline Lerat (1913-1992) & (1920-2009) and Élisabeth Joulia (1925-2003) in particular, he was to contribute to a renewal of the history of this medium. Initially focusing on utilitarian pieces, his ceramic production soon turned to sculptures and highly constructed pieces. Like the Lerats, Yves Mohy questions shapes, volumes, light, materials and objects. Their shared interest in contemporary creation, their many exchanges and the exhibitions they visit are no strangers to this reflection, which resonates undeniably with Mohy's training as an architect, and from which increasingly sculptural and architectural pieces are born. Yves Mohy works with stoneware in all its purity, highlighting the material for its own sake in a play of shapes by working on the [face reading]. He assembles slabs of geometric cross-section - square, rectangle, triangle - into solid-looking constructions - not without a few cracks, scarifications or soft edges, which show that his work remains rooted in a sensitive approach. It is precisely this balance that makes his work so compelling. Their power is reflected in the impression of monumentality they exude - even though their dimensions rarely exceed 70 centimetres in height. Our Lentille vase is a perfect illustration of Mohy's work as a sculptor-ceramist: the vase is no more than a pretext for experimenting with the assembly of two circular flat surfaces which, when united, bring the material itself, its monumentality and the play of color and light on its surface, into the realm of contemporary creation. Mohy plays with the vocabulary of both sculpture and painting, building up his ceramics through the juxtaposition of highly constructed planes and volumes, and creating irregular surfaces through nuances of color, but also through the addition or removal of material - like his work on our Mastaba sculpture or our Architecture lamp. Yves Mohy's one-of-a-kind creations quickly earned him a reputation for exhibiting his work in renowned galleries and for producing porcelain editions for Virebent. From the 1970s onwards, he moved regularly: to Paris, the Lot and the Hérault, before returning to the Cher. He also taught in Bourges and Limoges - in keeping with the need to pass on his art. From 1984-1985, he integrated a wide range of materials into his creations - wood, iron, slate and porcelain, among others - pursuing the quest for confrontation between forms and materials that has always driven his plastic research.