CULTUREEDIT ART AUCTION #6
Jonas Trifot
Jonas Trifot, En Transition, 2026
Details
Work in progress (unfired terracotta clay).
Unique original (1/1)
Signed by the artist
Dimensions Base: 37 × 18 cm (14.6 × 7.1 in)
Height: 39 cm (15.4 in).
Dimensions may vary slightly after firing (kiln shrinkage).
A body in transition: credible from a distance, fissured up close. Fragmented and unassignable, the figure sustains a “realism of belief” at first glance, then reveals its cuts and voids. The piece refuses fixed gender cues and instead builds sensuality through rhythm, weight, and torsion. A compact torso counters wide, grounded legs, holding the form on a threshold between strength and collapse. Clay is carved, thinned, and pushed to a threshold where transformation becomes a tension between holding and collapse.
This lot is “in transition.” The images show the current stage of the sculpture. The artist will finalise and kiln-fire the work after the auction. The final surface may shift subtly through finishing and firing, while the composition and dimensions remain consistent.
The finished work will be signed and accompanied by a Certificate of Authenticity and a short note documenting the transition from wet clay to fired form. Made as a return to studio practice after years of institutional work, the sculpture treats clay as gravity and risk: a material that remembers pressure, fatigue, and adjustment. Influences draw from classical sculpture language (Rodin, Maillol, Brancusi, Moore) while redirecting it toward contemporary, gender-interrogative bodies in motion.
Ships from Paris, France
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CULTUREEDIT ART AUCTION #6
Jonas Trifot
Jonas is a French, autodidact sculptor working between contemporary queer embodiment and classical sculptural language. First exposed to museum practice through a teenage placement at the Ecole du Louvre, he returned to sculpture after years in international institutions, where he led evidence-driven communication, research, and fundraising programmes across UNICEF and the European Union. His practice starts from the body as “provisional physical capital” shaped by an economy of visibility, youth, and performance, then reworked through fatigue, imbalance, and transformation. He creates fragmented figures—often without head, feet, or arms—to make the body’s blind zones visible and to resist fixed gender assignment. The work prioritises movement, torsion, and believability at distance, while allowing cuts, disproportions, and voids to surface up close. Influences include Rodin, Maillol, Brancusi, and Moore, reinterpreted through gender-ambiguous forms in motion.
