Philippe Hiquily (1925-2013) remains a singular figure in French art, both sculptor and furniture designer, whose influence transcends the norms of the art market and conventional artistic movements. His artistic freedom and hedonism are reflected in works with a dreamlike, surrealist spirit.

Trained at the École nationale supérieure des Beaux-Arts in Paris in 1953, Hiquily quickly developed a personal approach to sculpture, using sheet metal as an economical alternative to bronze, welded using the direct metal technique. His decisive meeting with artist Germaine Richier paved the way for fruitful collaborations, with Richier advising him and commissioning pedestals and saddles for his own creations.

Success soon followed Hiquily, with a triumphant exhibition at New York's The Contemporaries gallery in 1959, where all his works were sold, an acquisition by the Guggenheim Museum and recognition with the Critics' Prize for his sculpture "Jérémie" at the first Paris Biennale in 1960.

Spotted by the famous decorator Henri Samuel in the early 60s, Hiquily quickly established a reputation as one of the leading names in the world of decoration. This lucrative business not only ensured the continuity of his sculptural creation, but also contributed to his growing influence.

The 1980s marked a turning point in Hiquily's career. Influenced by the renowned American artist Alexander Calder, he explored mobility, balance and movement. Incorporating electric motors into his work, he gave a new dimension to traditional sculpture.

His reputation grew even further, with prestigious public commissions, including a 6-metre-high "Marathonienne" for the town of Vitry-sur-Seine in 1981. His work is firmly rooted in history and everyday life, represented in such illustrious museums as the MOMA & Guggenheim in New York, the Smithsonian American Art Museum in Washington, the Museum of Contemporary Art in Montreal, and the Musée National d'Art Moderne and Centre Georges Pompidou in Paris.

Hiquily left his mark on his time by claiming pleasure and enchantment. He revolutionized our perception of the work of art, placing it at the center of an interventionist approach with the introduction of the rocking game in emblematic sculptures such as "La Funambuleuse" (1981), "Les Pirouettes" (1985-1990), "Les Galipettes" (1988 - 2000), "La Claudinette" (1999), and "La Sauteuse" (2002).

Philippe Hiquily was an artist who didn't just follow the rules, but redefined them with each new creation.

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