Assemblage of doll legs in almost paste, sugar and fabric in plexiglass, with accompanying lithograph (measuring 45x62 cm)
Candy by Arman Fernandez, created in 1970, is an assemblage sculpture encapsulating a collection of doll legs encased in a plexiglass box. The composition is both playful and unsettling, featuring the doll legs adorned with miniature fabric skirts and painted toenails, arranged chaotically within the transparent enclosure. The use of materials such as sugar, fabric, and almost paste adds texture and evokes a sense of fragility and nostalgia. Fernandez’s work often explores themes of accumulation and object repetition, and this piece is no exception, transforming mundane objects into a provocative commentary on consumer culture and femininity. Measuring 33 x 26.5 x 8 cm, the piece comes with an accompanying lithograph that complements the assemblage. The visual impact of the sculpture is enhanced by its transparent casing, which allows the viewer to inspect the layered elements from all angles, emphasizing the chaotic yet structured nature of the composition.
Arman (Fernandez) (France/USA, 1928–2005) was a leading figure in Nouveau Réalisme, known for his assemblages of everyday objects. His works, such as Accumulations and Poubelles, transformed discarded items into powerful art, challenging consumerism and material culture. Arman’s innovative approach redefined sculpture and established him as a pioneer in contemporary art.
AssemblageAssemblage is an artistic process involving the combination of three-dimensional objects to create a work of art. The term, which originates from the French word for assembly, often involves the use of found objects like leaves, stones, discarded items, or recycled materials. These objects are arranged creatively to form a unique and often thought-provoking artwork.
Assemblage of doll legs in almost paste, sugar and fabric in plexiglass, with accompanying lithograph (measuring 45x62 cm)
Candy by Arman Fernandez, created in 1970, is an assemblage sculpture encapsulating a collection of doll legs encased in a plexiglass box. The composition is both playful and unsettling, featuring the doll legs adorned with miniature fabric skirts and painted toenails, arranged chaotically within the transparent enclosure. The use of materials such as sugar, fabric, and almost paste adds texture and evokes a sense of fragility and nostalgia. Fernandez’s work often explores themes of accumulation and object repetition, and this piece is no exception, transforming mundane objects into a provocative commentary on consumer culture and femininity. Measuring 33 x 26.5 x 8 cm, the piece comes with an accompanying lithograph that complements the assemblage. The visual impact of the sculpture is enhanced by its transparent casing, which allows the viewer to inspect the layered elements from all angles, emphasizing the chaotic yet structured nature of the composition.
Arman (Fernandez) (France/USA, 1928–2005) was a leading figure in Nouveau Réalisme, known for his assemblages of everyday objects. His works, such as Accumulations and Poubelles, transformed discarded items into powerful art, challenging consumerism and material culture. Arman’s innovative approach redefined sculpture and established him as a pioneer in contemporary art.
Design is more of a kitchen than a knife, and more of a lab than a beaker.
- Fernandez Arman
In his career as an artist, Armand Fernandez has become internationally known as Arman. He decided to sign his artworks with just his first name and then removed the final letter after a 1958 printing error. His work was always influenced by the Dada movement and he was later to make an impact on the Pop Art movement. Fernandez / Arman studied art history at the Louvre in Paris and attended the National School of Decorative Arts in Nice. He began by creating abstract paintings and also made use of found objects, fabric pieces and postage stamps. These assemblages were displayed together in 1954 at his first solo show in Paris. In 1960 he signed up to the New Realism manifesto and began to focus on more ways to turn commonplace discarded objects into art. His exhibition at the Iris Clert Gallery in 1960 was an installation called Full Up, which filled all the gallery space with trash. Another technique involved breaking up manufactured objects to mount on wood panels after reassembling. He also displayed familiar objects that had been sliced up and he exhibited the burnt remains of items that he had set on fire. His strategy of piling a number of found objects on top of each other led to art commissions from the Renault car company. In 1970 he displayed a number of works made from car parts at the World Fair in Osaka. In 1982 he created Long Term Parking, a monumental public sculpture 50 feet high, made from cars encased in a column of concrete. He received a commission in 1995 from the Lebanese leader to create a peace monument for Beirut. Hope for Peace, which stands outside the headquarters of the Lebanese Army, is made from armored tanks and military vehicles with gun barrels pointing upwards. (Artist website)
A found object is a term used to describe a man-made or natural object, or a fragment of one, that an artist discovers or purchases and keeps for inspiration or as a work of art. The artist may also modify the object or incorporate it into a collage or assemblage, transforming it into a new piece of art.