VIEW IN MY ROOM
France
Collage, Paper on Paper
Size: 8.3 W x 11.4 H x 0 D in
Ships in a Box
Artist Recognition
Artist featured in a collection
Regularly I need to "empty" my space, empty my archives, a desire to make disappear my own creations. The Barks of Time are an excellent example of this. It was originally a recycling of old drawings and then stuck randomly on Malagasy paper (handmade paper with irregular edges) then irregularly varnished and stained with walnut husk, which next the areas varnished or not varnished, tinted the Collage differently. And in the last stage, a pen and white ink intervention. Variant of my White Ideas Double Face, without double face and with a support sheet. But this recycling speaks not only of time, memory, but also of gestation, of a new life that is sprouting, the tones of the walnut tree are close to the Earth. I give them another life. ----- Régulièrement j'ai besoin de "vider" mon espace, de vider mes archives, une volonté de faire disparaître mes propres créations. Les Ecorces du Temps en sont un excellent exemple. C'est au départ un recyclage de vieux dessins (à l'encre de Chine et au crayon) déchirés puis collés au hasard sur du papier Malgache (papier fait main avec bords irréguliers) vernis ensuite irrégulièrement et teintés au brou de noix, qui suivant les endroits vernis ou pas vernis, a teinté le collage différemment. Et en dernière étape une intervention à la plume et à l'encre blanche. Variante de mes Idées Blanches Double Face, sans double face et avec une feuille support. Mais ce recyclage parle non seulement du temps, de la mémoire, du souvenir, mais aussi de gestation, d'une nouvelle vie qui est entrain de germer, les tons du brou de noix sont proches de la Terre. En déchirant mes propres dessins je leur donne une autre vie.
Collage:Paper on Paper
Original:One-of-a-kind Artwork
Size:8.3 W x 11.4 H x 0 D in
Frame:Not Framed
Ready to Hang:Not applicable
Packaging:Ships in a Box
Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
Handling:Ships in a box. Artists are responsible for packaging and adhering to Saatchi Art’s packaging guidelines.
Ships From:France.
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France
For many years I worked without trying to exhibit. There were nevertheless small and "big" exhibitions. Like being selected with a group of friends for a parallel exhibition at the Dokumenta 8 in Kassel in 1987: International exhibition "Gruppenkunstwerk" (collective art work). Then long years with my Daily Geologies (work realized over 12 years on a day-to-day basis), unexhibitable, given the concept itself = each day the "layer" or deposit covers that of the day before - in the end the paper and paint form a block of several dozen centimeters or more. I continued to work, to experiment, to fill in notebooks as if I were filling in a perpetual diary, to wander from one field to another: photography, writing, then to the design of artists' books (where I learned a little about bookbinding). Since a few years with Internet I show my work. Virtual encounters that have led to real exhibitions (UK Polarama), in Australia and also in France. ----------------------------------------- How to define my work? Color? Black & White? Materials? Or simply graphic work evoking sometimes engraving? A game of back and forth between all that. A bipolarity of expression sometimes confusing that can unfold in long spirals of writing to burst elsewhere in another form as the book-objects or even ... So to simplify = I keep 3 words: Writing, Spiral, Weft. ------------------------------------------------ I draw with my eyes closed what I cannot see with my eyes open. PB ------------------------------------------------ ------------------------------------------------ Pendant de longues années j'ai travaillé sans chercher à exposer. Il y a eu malgré tout des petites et "grandes" expos. Comme de se trouver sélectionnée avec un groupe d'amis pour une exposition en parallèle à la Dokumenta 8 à Kassel en 1987 : Exposition internationale "Gruppenkunstwerk" (Oeuvre d'art collective). Puis de longues années avec mes Géologies Quotidiennes (travail réalisé sur 12 ans au jour le jour) in-exposables, étant donné le concept lui-même = chaque jour la "couche" ou le dépôt recouvre celui de la veille - au final le papier et la peinture forment un bloc de plusieurs dizaines de centimètre voire plus. Je continuais à travailler, à expérimenter, à remplir des carnets comme si je remplissais un journal intime perpétuel, à me promener d'un domaine à l'autre: photographie, écriture, puis à la conception de livres d'artistes (où j'ai appris un peu la reliure).
Artist featured by Saatchi Art in a collection
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