{"product_id":"origin-of-the-world","title":"Origin of the World","description":"\u003ch3\u003e\u003cspan class=\"s1\"\u003e\u003cb\u003eOrigin of the World\u003c\/b\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp class=\"p2\"\u003e\u003cb\u003e1996\u003c\/b\u003e\u003cspan class=\"s2\"\u003e\u003cbr\u003eBronze, edition of 6\u003cbr\u003eSigned Burns\u003cbr\u003e59 × 55 × 46 cm\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p2\"\u003e\u003ci\u003eOrigin of the World\u003c\/i\u003e\u003cspan class=\"s2\"\u003e takes its title from Gustave Courbet’s famously direct painting \u003c\/span\u003e\u003cspan class=\"s1\"\u003e\u003ci\u003eL’Origine du monde\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e, but approaches the subject through concealment rather than exposure.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p2\"\u003eA female torso is partially enveloped in pale drapery, with a camellia placed over the genitals. The flower acts as a gesture towards decorum while simultaneously drawing attention to what it conceals. The contrast between the soft folds of the drapery, the body and the deliberately prominent flower gives the sculpture both sensuality and humour.\u003c\/p\u003e\n\u003cp class=\"p2\"\u003eThe work was cast in two different skin colours within the edition, altering the relationship between the figure, the pale fabric and the pink camellia. As with many of Stephanie Burns’s bronzes of this period, colour is not simply decorative but an essential part of the sculpture’s construction and meaning.\u003c\/p\u003e\n\u003cp class=\"p2\"\u003eThe strongly modelled surface remains visible throughout. Drapery, flesh and flower are all rendered differently, yet retain the marks of their making. What might initially appear to be an intimate fragment of the body becomes a complex arrangement of concealment, revelation and theatrical display.\u003c\/p\u003e\n\u003ch3\u003e\u003cspan class=\"s1\"\u003e\u003cb\u003eProvenance\u003c\/b\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp class=\"p2\"\u003eBronze edition of 6.\u003c\/p\u003e\n\u003cp class=\"p2\"\u003e\u003cb\u003eI\u003c\/b\u003e\u003cspan class=\"s2\"\u003e — recorded\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"s1\"\u003e\u003cb\u003eII\u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e — acquired by Armando, Buon Ricordo restaurant, Sydney\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"s1\"\u003e\u003cb\u003eIII\u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e — recorded\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"s1\"\u003e\u003cb\u003eIV\u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e — recorded\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"s1\"\u003e\u003cb\u003eV\u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e — recorded\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"s1\"\u003e\u003cb\u003eVI\u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e — recorded\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p2\"\u003eOne cast entered the collection of \u003cspan class=\"s1\"\u003e\u003cb\u003eBuon Ricordo restaurant, Sydney\u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003cspan class=\"s1\"\u003e\u003cb\u003eThe Buon Ricordo camellia\u003c\/b\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp class=\"p2\"\u003eDuring a private function in an upstairs room at Buon Ricordo, a guest removed the bronze camellia from the sculpture and took it home.\u003c\/p\u003e\n\u003cp class=\"p2\"\u003eThe restaurant owner later contacted the artist to ask what should be done. Burns suggested contacting the person who had booked the room and mentioning that the flower had disappeared.\u003c\/p\u003e\n\u003cp class=\"p2\"\u003eThe following day, the camellia was returned anonymously and restored to the sculpture.\u003c\/p\u003e\n\u003cp class=\"p2\"\u003eThe flower had apparently proved a little too tempting.\u003c\/p\u003e\n\u003ch3\u003e\u003cspan class=\"s1\"\u003e\u003cb\u003eExhibition history\u003c\/b\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp class=\"p2\"\u003e\u003cb\u003e1994 — Coventry Gallery, Sydney, Australia\u003c\/b\u003e\u003cspan class=\"s2\"\u003e\u003cbr\u003eIncluded in Stephanie McDonald’s solo sculpture exhibition. \u003c\/span\u003e\u003cspan class=\"s1\"\u003e\u003ci\u003eOrigin of the World\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e is visible in surviving installation photographs.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p2\"\u003e\u003cb\u003e1995 — Delaney Galleries, Perth, Western Australia\u003c\/b\u003e\u003cspan class=\"s2\"\u003e\u003cbr\u003eIncluded in the Delaney Galleries exhibition and documented in surviving installation photography.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p2\"\u003e\u003cb\u003e1996 — Christine Abrahams Gallery, Melbourne, Australia\u003c\/b\u003e\u003cspan class=\"s2\"\u003e\u003cbr\u003eExhibited during Stephanie Burns’s exhibition with Christine Abrahams Gallery. The artist’s ledger records a sale price of $10,000 through Abrahams.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p2\"\u003e\u003cb\u003e2007–2011 — Orion Sculpture Park, Yass, New South Wales\u003c\/b\u003e\u003cspan class=\"s2\"\u003e\u003cbr\u003eTwo differently patinated casts from the edition were owned by the artist and exhibited at Orion Sculpture Park.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003cb\u003e29–30 October 2011 — Orion Sculpture Park Open Studio, Yass\u003c\/b\u003e\u003cspan class=\"s2\"\u003e\u003cbr\u003ePublic opening.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p2\"\u003e\u003cb\u003e5–6 November 2011 — Classic Yass \/ Yass Arts Trail, Orion Sculpture Park\u003c\/b\u003e\u003cspan class=\"s2\"\u003e\u003cbr\u003ePublic exhibition\/opening. \u003c\/span\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003cspan class=\"s1\"\u003e\u003cb\u003eBibliography\u003c\/b\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp class=\"p2\"\u003e\u003cb\u003e1994\u003c\/b\u003e\u003cspan class=\"s2\"\u003e\u003cbr\u003eDavid Matthews, catalogue essay accompanying Stephanie McDonald’s exhibition at Coventry Gallery, Sydney.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p2\"\u003e\u003cb\u003e1995\u003c\/b\u003e\u003cspan class=\"s2\"\u003e\u003cbr\u003eDavid Bromfield, \u003c\/span\u003e\u003cspan class=\"s1\"\u003e\u003ci\u003eThe West Australian\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e, 29 August 1995, review\/feature on Stephanie McDonald’s sculpture and Delaney Galleries exhibition.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p2\"\u003e\u003cb\u003e1996\u003c\/b\u003e\u003cspan class=\"s2\"\u003e\u003cbr\u003eJohn McDonald, \u003c\/span\u003e\u003cspan class=\"s1\"\u003e\u003cb\u003e“Stephanie Burns: Recent Sculpture,”\u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e catalogue essay, Christine Abrahams Gallery, Melbourne, June 1996. \u003c\/span\u003e\u003cspan class=\"s1\"\u003e\u003ci\u003eOrigin of the World\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e was discussed in this 1996 catalogue.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p2\"\u003e\u003cb\u003e2011\u003c\/b\u003e\u003cspan class=\"s2\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"s1\"\u003e\u003ci\u003eOrion Sculpture Park\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e, Classic Yass \/ Yass Arts Trail material, documenting the sculpture park and the display of Stephanie Burns’s bronze works. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e© Stephanie Fuller (Burns)\u003c\/p\u003e","brand":"Stephanie Fuller Gallery","offers":[{"title":"Default Title","offer_id":41326608220232,"sku":null,"price":0.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0277\/9312\/9577\/files\/IMG_5673.jpg?v=1787578373","url":"https:\/\/stephaniefullergallery.com\/products\/origin-of-the-world","provider":"Stephanie Fuller Gallery","version":"1.0","type":"link"}