Philippe Hiquily loved women and to prove it he spent nearly 65 years of his life exploring their shapes and lines, artistically playing with their sexual attributes or flirting with their sensual sweetness.
His relationship to the fair sex was expressed above all through her metalwork. Physical, even muscular in the hammering of sheets; ardent and carnal in the welds which outlined the anatomies; tender and lascivious in the polishing of volumes; subtle and demanding in the arrangement of forms and balances, he knew how to bring out from a few plates of iron, brass or steel compositions full of charm, poetry and humor.
Through his sculptures we perceive concerns close to those which had guided the artistic practice of Calder, an artist he admired infinitely.
Seize the movement in all its aspects, moving in dangerous balances in the most monumental stabiles, defy gravity or develop complex mechanisms. Everything, in the end, is built to simply grab hold of the elusive.
Hiquily’s work, like its creator, is powerful and discreet, and the Marathonienne, more than any of her sculptures, has become a true icon of the noble and quiet intensity of her art. .
This smaller, more intimate edition, however, pays homage to the lines and curves of the original 6-meter sculpture that Hiquily produced for the Sports Center in the city of Vitry sur Seine in 1981.