Lot 302
Patrick Amiot (Canadian, b. 1959) and Brigitte Laurent (Canadian, active XX-XI century). "Pop Rivet Mask I" latex resin with mixed media, n.d. Label with artists' names and title on verso. A bold and eccentric face emerges from a patchwork of salvaged materials in "Pop Rivet Mask I", a sculptural work that transforms industrial debris into a vivid and slightly mischievous character. Constructed from latex resin and an assortment of found elements, the mask reflects the collaborative process that defines Amiot and Laurent's work - Amiot assembling the structure from reclaimed fragments, while Laurent's painterly touch animates the form with subtle tonal variation and expressive surface detail. The mask is composed of overlapping panels that resemble riveted sheet metal, their irregular geometry evoking the improvised repairs of machinery or vehicle bodies. Size: 17" W x 21.3" H (43.2 cm x 54.1 cm)
Embedded among these pale surfaces are fragments of vintage signage and license plates, their bright colors and partial lettering peeking through the layered construction like remnants of forgotten journeys. Rusted bolts, metal hardware, and exposed fasteners punctuate the surface, reinforcing the work's industrial character while giving the impression that the face itself has been assembled from the relics of everyday life.
Thick strands of yarnlike fiber cascade from the crown and sides of the head, forming a shaggy mane that softens the rigid geometry of the mask. The material resembles mop strands, lending the figure a playful and slightly unruly presence that contrasts with the rigid structure beneath. These dangling locks suggest hair or ceremonial adornment while maintaining the improvisational spirit that characterizes Amiot's sculptural language. The central features of the face - the protruding nose, riveted mouth, and hardware details - create a curious expression that hovers somewhere between mechanical artifact and whimsical portrait.
Through the transformation of discarded materials into a humanlike form, "Pop Rivet Mask I" captures the spirit of Amiot and Laurent's collaborative practice. The work celebrates the hidden histories of industrial objects while presenting them in a humorous and imaginative new guise, turning fragments of metal, signage, and fiber into a lively sculptural presence that feels both rugged and unexpectedly animated.
About the artists: Patrick Amiot and Brigitte Laurent are the creative force behind a body of exuberant sculptural work that has become closely associated with the artistic identity of Sebastopol, California. Working in close collaboration, the pair transform discarded metal objects into large scale figurative sculptures that balance humor, craftsmanship, and a sense of narrative. Their process is shared but distinct: Amiot designs and constructs the sculptures from salvaged materials, while Laurent completes the works with meticulous painting, bringing color, character, and expressive detail to the forms.
Born in Montreal, Patrick Amiot first gained recognition as a ceramic sculptor before shifting his practice toward assemblage. The change came partly from the practical challenges of shipping fragile ceramics, but also from a growing fascination with the expressive possibilities of found objects. Hubcaps, water heaters, scrap metal, and other discarded materials are welded together into whimsical figures that draw inspiration from everyday life. Amiot often describes these objects as carrying their own history, shaped by years of use before finding a second life in sculpture. In his hands, industrial debris becomes fishermen, farmers, musicians, animals, and lively street scenes, reflecting both the traditions of Quebec genre sculpture and a distinctly contemporary form of urban folk art.
Brigitte Laurent plays an equally essential role in the creation of these works. After Amiot completes the sculptural structure, Laurent carefully paints each surface using precise brushwork and an energetic palette. Her use of color and pattern animates the sculptures, transforming raw metal forms into vibrant characters with personality and narrative presence. The partnership between sculptor and painter gives the work its distinctive visual language, combining rugged construction with playful, painterly detail.
The couple settled in Sebastopol, California, where their sculptures gradually became a familiar part of the local landscape. Larger than life figures appear throughout the town: a fisherman riding a giant fish, a gopher holding a shovel outside a hardware store, and other imaginative characters placed along streets and in front yards. Florence Avenue in particular has become known for its concentration of their work, where numerous sculptures stand outdoors as a kind of informal public gallery.
Beyond their artistic contributions, Amiot and Laurent have also played a meaningful role in their community. A calendar featuring photographs of the sculptures, created with photographer David Fetherston and organized by local volunteers, has raised substantial funds for local schools. The project reflects the artists' desire to create something rooted in the spirit of the community rather than relying on traditional fundraising methods.
Over the past several decades Amiot has completed numerous commissions for both public and private institutions, including projects for the Expo 86 British Columbia Pavilion in Vancouver, the Winnipeg Jets, Standard Broadcasting in Toronto, and the Sonoma County Museum. Their collaborative practice was also the subject of the 2017 documentary "Junkyard Alchemist", which explores Amiot's transformation of discarded materials into imaginative works of art.
Today Amiot and Laurent continue to live and work in Sebastopol, where their studio remains filled with sculptures in progress. Their shared vision extends beyond individual works to the idea of creating a larger sculptural environment where the public can encounter art in unexpected places. Through wit, craftsmanship, and a deep appreciation for the hidden life of everyday objects, their work celebrates transformation, community, and the enduring possibilities of creativity.
Provenance: private Boulder, Colorado, USA Collection
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#201354
- Condition: Expected fraying to yarn, but, otherwise in excellent overall condition with shoelace suspension for display. Label with artists' names and title on verso.
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