Title: Chalchiuhtlicue & Tlazolteotl
Geographic Location: Mexico (Aztec)
(circa 1400/1520 CE)
This painting represents two important Aztec goddesses. On the left, Chalchiuhtlicue, the goddess of water, symbolizes life, fertility, and rebirth through her association with lakes, rivers, and seas. She highlights the importance of water for life and purification.
On the right, Tlazolteotl, the goddess of fertility, is also considered the mother of the earth among the Toltecs. She embodies the deep and sometimes frightening aspects of our being. Tlazolteotl demonstrates that what scares or destroys us can also offer forgiveness, understanding, and healing. What seems wrong within us can transform into something good.
This artwork illustrates how natural and spiritual forces converge. Chalchiuhtlicue brings life and regeneration, while Tlazolteotl teaches us that even our darkest aspects can lead to healing and renewal.
Title: Toltec Atlanteans
Geographic Location: Tula, Mexico
(ca. 900-1150 CE)
The Toltec Atlanteans are monumental warrior sculptures that once adorned the ancient city of Tula, the capital of the Toltec civilization in Mexico. These figures, depicting armed warriors, symbolize strength, protection, and the support of the divine world. They embodied the role of sacred defenders, maintaining cosmic balance and safeguarding the community. As temple pillars, these statues expressed the significance of sacred warfare and spiritual authority in Toltec culture, linking the human world with the divine.
Title: Xipe Totec the God of Spring
Geographic Location: Mexico (Aztec)
(circa 1100/1300 CE)
Xipe Totec is the Aztec god of renewal, agriculture, and fertile rains. Also known as "Our Lord the Flayed One," he is distinguished by his symbolic gesture of flaying, illustrating the transformation necessary for maize germination and vegetation growth. This practice, representing the loss of the outer skin before rebirth, is comparable to the shedding of a serpentβs skin.
He embodies the cycle of life, death, and rebirth. Associated with the cult of human sacrifices, where the skin of victims was worn as clothing to symbolize fertility and renewal, he is also the patron of goldsmiths and symbolizes victory and purification. His cult included rituals where flayed skins were offered to promote fertility and healing.
itle: Jaguar Warrior
Geographic Location: Mexico (Aztec)
(circa 1250/1500 CE)
This artwork is inspired by a sculpture of a noble warrior seated. He wears a paper fan on the back of his head, and is adorned with precious stone jewelry, including ear ornaments, bracelets, and a green stone necklace. Additionally, there are bracelets inlaid with turquoise and gold, as well as an anthropomorphic pectoral that, by its style, appears to be an ancient artifact.
The central element of this attire is a helmet shaped like a feline head, symbolizing strength and prestige. This warrior embodies power and nobility, combining material wealth with spirituality.
Title: Moai
Geographic Location: Easter Island, Oceania
(circa 1300/1500 CE)
The Moai, famous statues of Easter Island, are monoliths carved mainly from volcanic tuff between the 13th and 15th centuries. The Moai, symbols of deified ancestors, are erected on ceremonial platforms called ahu, facing inward toward the island except for those at Ahu Akivi, which face the ocean.
These silent guardians of ancient times embody the duality of protection and spirituality. Carved from rock with infinite patience, these giants have watched over their sacred land for centuries, protecting not only the land that supports them but also the souls of those who live there.
In this artwork, the Moai become sentinels of the sacred, their gaze directed toward the infinite, bearing witness to an invisible yet powerful presence. They are the protectors of what is precious and intangible: culture, traditions, and the deep emotions of humanity.
Title: Picasso's Head of Woman
Geographic Location: France
1931
This work by Pablo Picasso is much more than a mere representation of the female form. Carved from plaster and wood, the Head of Woman embodies the meeting of love, inspiration, and art. Picasso, residing in his Boisgeloup chÒteau, explores the sensuality of his young mistress and muse, Marie-Thérèse Walter, through a sculptural language that is both fluid and monumental.
The face, composed of three plaster shells, reflects both the influence of African masks and the majesty of prehistoric goddesses. This blend of styles and cultures endows the sculpture with a timeless, almost mythical power, where femininity is exalted. The prominent nose, almond-shaped eyes, and generous forms are strong signs, symbols of fertility and vitality, elevating Marie-Thérèse's figure to that of a modern goddess.
Title: Senoufo Mask
Geographic Location: Ivory Coast
(circa 1800/1900 CE)
This artwork represents a distinctive Senoufo mask, carved from wood and designed to be worn as a full-head helmet. Used during funerals of the Senoufo people, this mask holds deep significance in funeral rites. Members of the Poro society, a secret society of men, wear it to honor deceased members and to ward off evil spirits during ceremonies that celebrate life and protection against malevolent forces.
Title: Modigliani's Head Of Women
Geographic Location: France & Italy
(1911/1913)
This painting features two sculptures by Modigliani, depicting his famous "Heads of Women." Created between 1911 and 1913, these works are distinguished by their elongated faces and stylized features, reflecting the influence of Cambodian, Egyptian, and Ivorian art on the artist. The sculptures capture the radical simplification and distinctive elegance that characterize this series, influenced by art objects seen at the MusΓ©e d'Ethnographie in Paris.
Title: Horus & Ra
Geographic Location: Egypt
(ca. -2300/-2100 BCE)
This work depicts a two-headed falcon, merging the Egyptian deities Horus and Ra. Through this union, the convergence of divine powers is illustrated, combining day and night, protection and creation into a single omniscient entity.
The bird, with its two heads, embodies a divine vision that transcends time and space, symbolizing eternal vigilance. Holding an Egyptian cross, or ankh, in each of its talons, this divine being becomes the guardian of eternal life. The ankh, a symbol of life, reminds us that within the balance of opposing forces lies the secret to immortality.
Title: Zeus Ammon
Geographic Location: Italy: Ancient Rome
(circa 100/200 CE)
The Herm of Zeus Ammon is a sculpture representing a blend of human and beast, where the head rests on a Hermes support. It has been largely restored but retains the original format of the work. Zeus Ammon was a syncretic deity of classical origin, combining human and animal elements. While the facial features are human, the ram-like ears and curled horns recall the animal nature of this figure.
The hairstyle, with a roll at the back and flat strands on the forehead, appears to be of an ancient style. Narrow eyes, a flat forehead, low brows, and a long mustache are characteristic of early classical Greek art. A narrow band encircles the head and falls on the shoulders, giving the figure a religious aura. The open mouth suggests an oracular power, associated with Jupiter.
In Roman times, Herms were very popular as decorative elements, used to demarcate spaces in gardens and domestic interiors. Jupiter Ammon, distinct from the classical Greek figure of Zeus, was a tutelary deity for Alexander the Great, whose posthumous representations show him with Ammon's horns. Roman leaders used the image of Jupiter Ammon as decoration on their armor, both for its protective powers and to assert military supremacy.
Title: Tiamat & Nisroch
Geographic Location: Assyria (modern-day Iraq and Syria)
(ca. -900/-612 BCE)
This painting depicts an intense encounter between two major mythological forces: Tiamat, the embodiment of primordial chaos, and Nisroch, a powerful divine figure with the features of an eagle, holding a pine cone.
Nisroch, with his human body and eagle head, symbolizes divine strength and wisdom. His hybrid appearance connects him to both the heavens and the earth, positioning him as a mediator between the worlds. The pine cone he holds represents fertility, regeneration, and prosperity, symbolizing the potential for growth and renewal in the face of the chaos represented by Tiamat. By holding this sacred object, Nisroch becomes the bearer of purification and protection, using it to repel chaotic forces.
The pine cone also serves as a conduit for divine power, concentrating the energy necessary to establish order in the universe. Furthermore, it refers to the eternal cycle of life and death, evoking transformation and renewal. Thus, this work explores the struggle and balance between chaos and order, highlighting the deep dynamics that govern our world.
Title: Winged Genie
Geographic Location: Assyria (present-day Iraq and Syria)
(ca. -900/-612 BCE)
The winged genie is an iconic figure in the art and culture of ancient Mesopotamia. Often depicted on sculpted bas-reliefs that adorned the palaces of Assyrian kings, it appears as a human figure with wings, symbolizing its divine or supernatural nature.
These figures were considered protectors, tasked with watching over the king and his realm. Their presence in Assyrian art highlights the importance of religion and spiritual beliefs in this civilization.
The winged genies embodied divine power and protection against evil, reflecting the Assyrians' belief in benevolent supernatural forces that guided and safeguarded them.
Title: Maneki-Neko
Geographic Location: Japan
(circa 1800 CE)
The Maneki-Neko, a Japanese symbol of luck and prosperity. Traditionally associated with welcoming and inviting, this black cat raises its left paw, a gesture that beckons guests and customers. In Japanese culture, black Maneki-Neko are believed to ward off evil spirits. They are particularly popular among women, as it is said that they drive away aggressors.
Title: Daruma-san
Geographic Location: Japan
(circa 1800 CE)
This painting depicts Daruma-san, an iconic figure in Japanese culture. In this artwork, the Daruma-san is black, symbolizing protection against misfortune and negative energies.
Darumas were created in the 18th century by a monk for his followers. Their round shape and expressive face are designed to encourage perseverance and good fortune.
Title: Jomon Dogu Horse
Geographic Location: Japan
(circa 14000/400 BCE)
The Jomon dog or horse sculpture is often characterized by a stylized and abstract form, with geometric features and a generally rounded body.
Jomon figurines, including the horse, are generally interpreted as ritual objects or amulets, potentially holding religious or spiritual significance. They may have been used in rites related to fertility, protection, or the celebration of natural cycles. Representations of animals, such as horses or dogs, could symbolize aspects of nature or ancestral beliefs related to the local fauna.
Title: Michelangelo's David
Geographic Location: Florence, Italy
(ca. 1501-1504 CE, Renaissance period)
Michelangelo's David, created between 1501 and 1504, is one of the most iconic sculptures of the Renaissance, representing the biblical hero David. Standing at over 5 meters tall, this marble masterpiece was commissioned by the city of Florence as a symbol of strength, courage, and youthful beauty. David is depicted at the moment before his battle with Goliath, capturing a sense of calm concentration and inner strength.
Michelangelo's choice to portray David nude and in a contrapposto pose was revolutionary, highlighting the artist's mastery of human anatomy and his ability to convey psychological depth. The sculpture combines classical ideals of beauty with a new sense of realism and emotional expression, embodying the spirit of the Renaissance's revival of antiquity and its celebration of human potential and dignity.
reek Ceramics series
Geographic Location: Greece
(ca. -1000/-300 BCE)
Ancient Greek vases, of which many have survived, offer a valuable insight into the life and culture of the time. Originating in the Near East, ceramic art reached a high level in ancient Greece. These vases were used in daily life, particularly among wealthy families, for meals, banquets, and religious rituals. Many of them are decorated with scenes from mythology and festivals. Today, over 50,000 Athenian vases have been discovered, highlighting their significance in ancient Greek society.
Bull: In ancient Greece, the bull was a powerful and sacred symbol, often associated with strength, fertility, and vitality. It held an important place in mythology and religious rituals.
The bull was also revered in various cults and rituals, particularly those dedicated to Zeus, the king of the gods. Zeus himself was sometimes represented as a bull. Bull sacrifices were common in ancient Greece, where these animals were offered to the gods for favor or protection. Bulls were frequently depicted in Greek art, including on vases, frescoes, and sculptures, reflecting their cultural and religious significance.
Warrior: Hoplites were heavy infantry soldiers in ancient Greece. They formed the backbone of Greek armies, especially during the classical periods like the Peloponnesian Wars.
The role of hoplites went beyond combat. They were often citizens who also participated in the political and social life of their city-state. Their equipment and training were costly, and their military role was an important aspect of their social status.
Runner: Marathon runners were elite soldiers in ancient Greece, notably known for their role in the famous Battle of Marathon in 490 BCE. This crucial battle pitted the Athenians against the Persians during the Persian Wars.
The term "marathonian" comes from the city of Marathon, where the battle took place. According to legend, after the victory at Marathon, the Athenian soldier Pheidippides ran about 42 kilometers to Athens to announce the victory. He is said to have died from exhaustion afterward. This run is commemorated today by the modern marathon.
Odysseus: He is one of the most famous heroes of Greek mythology. He is the king of Ithaca, a small Greek island, and is best known for his intelligence, cunning, and crucial role in the Trojan War.
Odysseus is the central character of "The Odyssey," an epic poem attributed to Homer. This story recounts his long and perilous journey home after the Trojan War. Odysseus is often seen as a symbol of perseverance and wisdom, using his intellect to overcome difficulties rather than brute force. His story also illustrates themes of adventure, familial love, and the desire to return home.
Heracles and the Lernaean Hydra : Heracles, the mythological hero, is depicted fighting the Lernaean Hydra, a monstrous creature with multiple serpent heads. This scene refers to one of the Twelve Labors of Heracles, a series of trials imposed by King Eurystheus to atone for his sins.
Title: Venus de Milo
Geographic Location: Ancient Greece (currently in the Louvre Museum, Paris, France)
(ca. 130-100 BCE, Hellenistic period)
The Venus de Milo, also known as Aphrodite of Milos, is a celebrated ancient Greek statue believed to represent Aphrodite, the goddess of love and beauty. Created around 130-100 BCE, this marble sculpture is a masterpiece of Hellenistic art, combining classical Greek ideals with a new sense of movement and realism. Discovered on the island of Milos in 1820, the statue is currently displayed in the Louvre Museum in Paris, where it continues to captivate viewers with its enigmatic beauty and graceful posture.
The Venus de Milo stands over six feet tall, with an elegantly curved form that epitomizes the classical ideals of proportion and harmony. Despite the loss of her arms, the statue's flowing drapery and sensuous contours suggest movement, vitality, and timeless elegance. The identity of the sculptor remains unknown, but the statueβs mysterious allure has made it one of the most iconic symbols of female beauty in Western art history. The Venus de Milo invites viewers to contemplate both the divine and the mortal, reflecting the complex interplay between idealized beauty and human experience in ancient Greek culture.
Title: Michelangelo's Moses
Geographic Location: Rome, Italy
(ca. 1513-1515 CE, Renaissance period)
Michelangelo's Moses is a monumental marble sculpture created between 1513 and 1515 as part of the tomb of Pope Julius II in the Church of San Pietro in Vincoli, Rome. This masterpiece captures the biblical figure of Moses at a powerful moment, holding the tablets of the Ten Commandments, with an intense expression and dynamic posture that conveys his strength and divine mission.
Michelangelo carved Moses with extraordinary detail, from the muscular tension in his arms to the intricate beard and flowing robes, showcasing his deep understanding of human anatomy and movement. The horns on Moses' head, a feature inspired by a mistranslation of the Hebrew Bible, have sparked much debate and interpretation over the centuries. The sculpture embodies the Renaissance ideals of beauty, strength, and human emotion, while also reflecting Michelangelo's profound engagement with spirituality and the divine.
Title: Nike of Samothrace
Geographic Location: Ancient Greece (currently in the Louvre Museum, Paris, France)
(ca. 190 BCE, Hellenistic period)
The Nike of Samothrace, also known as the Winged Victory of Samothrace, is a masterpiece of ancient Greek sculpture that captures the dynamic movement and emotional intensity characteristic of Hellenistic art. Created around 190 BCE to commemorate a naval victory, this statue represents the goddess Nike, the personification of victory, descending onto the prow of a ship. Crafted from Parian marble, the sculpture was discovered in 1863 on the island of Samothrace in the Aegean Sea and is now a prominent centerpiece of the Louvre Museum in Paris.
Standing over eight feet tall, the Nike of Samothrace conveys a powerful sense of motion, as if the goddess is landing triumphantly with her wings spread wide. The wind-swept drapery clings to her form, revealing both the energy of the moment and the graceful, powerful figure beneath. Although the head and arms are missing, the statueβs dynamic pose and intricate detailing evoke a sense of both majesty and resilience. This sculpture symbolizes not only military triumph but also the spirit of victory and the divine presence in human affairs. It remains an enduring symbol of courage, freedom, and transcendence.γ
Title: Tutankhamun
Geographic Location: Egypt
(circa 1300 BCE)
The bust of Tutankhamun is a representation of the Egyptian pharaoh. It captures the features of this young king who left a significant mark on the history of ancient Egypt. The simplicity of the work highlights Tutankhamun's royalty and divinity, symbolizing both power and immortality.
Title: Duck-Shaped Vase
Geographic Location: Egypt
(ca. 3rd to 2nd century BCE, Greco-Roman period)
The "Duck-Shaped Vase" from Egypt, dating to the 3rd to 2nd century BCE during the Greco-Roman period, reflects the significance of the duck in Egyptian art. In Egyptian symbolism, the duck is often associated with fertility and regeneration. As an aquatic creature, it also evokes elements of water and natural cycles. Ducks were sometimes depicted in everyday objects to bring blessings of prosperity and renewal. In funerary contexts, they could symbolize protection and transition into the afterlife.γ
(Displayed in the showcase outside the gallery)
Title: Lamassu
Geographic Location: Assyria (present-day Iraq and Syria)
(circa 800/900 BCE)
The Lamassu is an Assyrian mythological creature, often depicted as a winged bull or lion with a human head. Carved from stone, it was placed at the entrances of palaces and cities to protect against malevolent spirits. A symbol of power and protection, the Lamassu reflects the imperial might of ancient Assyria.
It is a composite symbol, combining the qualities of the three beings it represents: the strength of the bull or lion, the wisdom and intelligence of the human, and the ability to move swiftly with its wings.
ββββββββββββββββββββ
Geoffrey Bouillot, a French artist born in 1990 in Chalon-sur-SaΓ΄ne (Burgundy, France), has built a reputation as an artist in Japan over the past 13 years. Known for his delicate lines and powerful monochromes, he creates works that offer a three-dimensional depth. His multicultural background is reflected in his artistic approach, where he merges various styles and techniques to produce truly unique pieces.
His exhibition titled "Artefact" is a vibrant tribute to the treasures of global heritage. Inspired by ancient artifacts from diverse cultures, it highlights the timeless beauty and symbolic power of these objects. Through minimalist compositions and a subtle mastery of light and shadow, Geoffrey invites visitors to immerse themselves in a space where art and history converge.
Each piece presented embodies a fragment of the beliefs, myths, and rituals that have shaped civilizations such as ancient Greece, Mesopotamia, or ancient Japan. Whether winged Assyrian deities or Greek vases, these works testify to the importance of supernatural forces and the peoples' quest to understand and invoke them. They evoke the atmosphere of an archaeological museum, where each detail reveals a part of our collective heritage.
As viewers explore this exhibition, they are invited not only to admire the art but also to delve into the deep roots of the symbols and beliefs that continue to resonate through the ages, connecting the past with our contemporary world. "Artefact" is not just a collection of works but a gateway to the history and spirituality that preceded us.