Sylvain Barberot - Echo - marbre gravé






Holds a bachelor’s degree in art history and a master’s degree in arts and cultural management.
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Sylvain Barberot’s contemporary marble sculpture titled “Echo - marbre gravé” (2025) is a unique work engraved in marble with 22‑carat gold, 60 cm wide by 64 cm high and 10 cm deep, weighing 22 kg, signed by hand, and originating from France.
Description from the seller
"Echo" is one of the works that come from a series titled "epitaph." They are a poetic way of embracing death with poetry by choosing a word selected to sublimize it. The engraving is executed in 22-karat gold, as a reminder of funerary iconography.
And if the stone could become the echo of the earth along a ridge line? Our dead are echoes of whom we are the voice. We carry them, and in the flesh we are only prolongations of their past existence, like a silent echo.
International artist whose work rests on the dichotomy that exists between memory and oblivion. Memory, in my view, is the indispensable element that binds our body to the world. However, and while our culture strives to carve history with the burin, I strive to inhibit, deconstruct, even erase my own memory. A vast undertaking, the exercise of forgetting...
The body is only the support of this memory on which it depends, indeed needs. It builds it, shapes it, and transforms it. And if anamnesis translates from Greek as the rising of memory, for my part I hunt it to better part from it.
"Echo" is one of the works that come from a series titled "epitaph." They are a poetic way of embracing death with poetry by choosing a word selected to sublimize it. The engraving is executed in 22-karat gold, as a reminder of funerary iconography.
And if the stone could become the echo of the earth along a ridge line? Our dead are echoes of whom we are the voice. We carry them, and in the flesh we are only prolongations of their past existence, like a silent echo.
International artist whose work rests on the dichotomy that exists between memory and oblivion. Memory, in my view, is the indispensable element that binds our body to the world. However, and while our culture strives to carve history with the burin, I strive to inhibit, deconstruct, even erase my own memory. A vast undertaking, the exercise of forgetting...
The body is only the support of this memory on which it depends, indeed needs. It builds it, shapes it, and transforms it. And if anamnesis translates from Greek as the rising of memory, for my part I hunt it to better part from it.
