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Painting, Oil on Paper
Size: 19.7 W x 27.6 H x 0.4 D in
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78 Views
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With this new work, Delphine Armillès reflects on the notion of heritage, individual and collective, and begins a series of portraits imbued with a strange sense of ancient modernity. A classical representation, in terms of models and intentions, to highlight figures caught between past and present. These characters, from uncertain eras, question the derision and impasses of our contemporary societies. An individual present with little presence in our consciousness. A collective present with no future. Increasingly saturated with images, commentary and emptiness, they lead to sadness and isolation rather than to the promised happiness and knowledge. An individual and collective past full of references, myths and ghosts. A history full of myths, creating a gigantic collective narrative that encompasses ancient civilizations and contemporary beliefs. An inventory to be constantly updated. A restless heritage that creates a confused and curious whole, cluttered with references. A whole, present and past, that distances us more and more from the essential. And which makes us forget our absolute condition of impermanence. Our common condition. "Memento mori" "This thing we call a corpse, which frightens us so much, lives with us here and now." Milarepa
2023
Oil on Paper
One-of-a-kind Artwork
19.7 W x 27.6 H x 0.4 D in
Not Framed
No
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France.
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Delphine Armilles lives and works in Seine-Saint-Denis, as a visual artist. After studying ceramics, she continued her artistic studies at the Beaux-Arts de Paris. During these studies, she experimented with various techniques, in addition to painting and drawing: mosaic, scenography, fresco ... His artistic activity is divided between illustrations and an extensive and varied personal practice. It begins, in early 2019, in parallel with a new series of drawings, a curriculum of replication of classical painted works, within a “imitator” workshop, through the study of these practices, learning ancient techniques, she broaden her regard and research in the service of a new direction of her works. By considering this learning period of new practice, as a moment of retirement, she gained the liberty that is required for this very long and incalculable and non-profitable time needed for her paintings. Through her works, Delphine Armilles questions our relationship to artificial light which fastenings us from waking to bedtime, un- distillates and alienates us, takes us away from reality. By setting figures of children and of young people, into painted imageries, in a classical methods and style, she offers us a disenchanted vision of the world, and of its mutations. She through light on the insignificant parts, which fills in all the empty spaces, creating a profusion of emptiness, generating sadness, isolation, and even violence and idleness, pointing on the lack of happiness in place of delight, where knowledge seems within a reach of the given displays.
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