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Open a larger version of the following image in a popup: Dries Engelen, Totem (duplicate), ca. 1970
Open a larger version of the following image in a popup: Dries Engelen, Totem (duplicate), ca. 1970
Open a larger version of the following image in a popup: Dries Engelen, Totem (duplicate), ca. 1970
Open a larger version of the following image in a popup: Dries Engelen, Totem (duplicate), ca. 1970
Open a larger version of the following image in a popup: Dries Engelen, Totem (duplicate), ca. 1970
Open a larger version of the following image in a popup: Dries Engelen, Totem (duplicate), ca. 1970
Open a larger version of the following image in a popup: Dries Engelen, Totem (duplicate), ca. 1970

Dries Engelen

Totem (duplicate), ca. 1970
Copper
H 12 W 3 D 3 cm
Unique piece
Signed
€1,250.00
Enquire
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This vibrant ceramic sculpture exemplifies the highly personal visual language of Dutch artist Dries Engelen (1927–2021). Combining influences from folk traditions, tribal imagery, religious sculpture, and modernist abstraction, Engelen developed...
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This vibrant ceramic sculpture exemplifies the highly personal visual language of Dutch artist Dries Engelen (1927–2021). Combining influences from folk traditions, tribal imagery, religious sculpture, and modernist abstraction, Engelen developed a sculptural vocabulary that remained remarkably independent throughout his long career.
Constructed from stacked geometric forms and animated by stylized facial features, the figure evokes the presence of an ancient guardian or ceremonial idol. The rich orange glaze enhances the work's tactile quality, emphasizing the artist's roots in ceramics and his deep understanding of material, colour, and form. While playful in character, the sculpture possesses a striking architectural presence, transforming a compact object into a small monument.
Engelen studied sculpture at the Jan van Eyck Academie in Maastricht under Oscar Jespers and went on to create both monumental public commissions and intimate studio works. Unlike many of his contemporaries, he remained largely unconcerned with artistic trends, following his own path for more than seven decades. As he often remarked, “I do what I like myself.” This independence allowed him to develop a distinctive body of work that is immediately recognizable for its expressive forms, symbolic imagery, and sense of joyful invention.
The present sculpture belongs to a recurring series of totemic figures that Engelen explored throughout his career, including examples realized on a monumental scale. Seen in this context, the work represents more than a standalone ceramic object; it forms part of a broader artistic investigation into archetypal forms, human presence, and sculptural rhythm. The ability to translate the same powerful visual language across vastly different scales speaks to the strength and coherence of Engelen's practice.
Balancing figuration and abstraction, monumentality and humour, this sculpture offers a compelling example of Engelen's ceramic oeuvre. Its vivid colour, strong silhouette, and intimate scale make it both a highly collectible work and a concentrated expression of the artist's singular vision.

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