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Curva 16/34 Drawing

Yohanan Delaunay-Israel

Israel

Drawing, Charcoal on Paper

Size: 42.5 W x 42.5 H x 0.4 D in

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$2,450USD

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117 Views
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About The Artwork

Oeuvre à l'encre et fusain sur papier Arche de la série des "Curvas". Le principe de composition est inspiré de la figure des noeuds borroméens, emblème baroque des princes Borromées repris par Lacan pour sa topologie de l’appareil psychique. Une référence à la psychanalyse en écho à l’expérience du soignant en psychiatrie ainsi qu’à la transposition dans la pratique picturale de la scansion temporelle des séances et de l’association libre. Ce qui se déconstruit ici c’est la pratique elle même et non l’idée ou les représentations que l’on s’en fait. Lacan contre Derrida. Elle consiste en un assemblage de trois cercles tressés de telle manière que si l’un se détache les deux autres sont libres. Aplats, gestes et traits "tressent" les formes de la composition. Son titre est tiré d’une nouvelle de Malcom Lowry « Pompéi aujourd’hui » pointant le double sens du mot « curva » en Italien. Elle est signée en bas à droite et livrée en tube.

Details & Dimensions

Drawing:Charcoal on Paper

Original:One-of-a-kind Artwork

Size:42.5 W x 42.5 H x 0.4 D in

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J/Y Delaunay-Israel was born in France. He has been living and working in Jerusalem since 2015. Trained at the I.A.V. of Orleans and the Villa Arson (Ecole Nationale Supérieure d'Arts) of Nice, he then, in parallel with his artistic activity, worked as a nurse, a care executive and a director of care in psychiatry. At the end of his studies he decided to follow the voices of painting which, from the blown hands of Gargas to the prints of those of Jasper Johns in " Plongeur ", carried him from the banks of Support Surface to Motherwell and Ryman via Shi-Tao (" Les propos du Moine Citrouille amère ") and the ocean of Art Brut. Thus since 1984, he has been creating series on canvas or paper with different techniques (watercolour, acrylic, inks, oil, charcoal, pastel) whose titles are often inspired by literature or music: Composition " 1984/1989, " Prémices " 1988/1990, " Desseins " 1991/1994 , " Curvas " 1994/1996, " Patrimoine " 2000/2004 , " Les Bijoux " 2002/2006 , " Ellis Island " 2004/2013 , " Epiphanies hierosolymitaines " 2017/2019, " Dances/Ricoudim "2016/..., " Long distance call " 2017/..., " Songs without word/Nigounim" 2020/..., " Fugues " 2016/..., " Lishma " 2018/... Methodically, starting from principles of composition drawn from the history of art and geometry, he endeavours, day after day, to set the times of the appearance of the painting, the "history" of its advent. Thus, out of all preliminaries or premeditations, he leads several paintings at once. At each session he intervenes only once and without repentance, on a part of each of them, leaving paintings and reserves in suspense until the next time. Thus the painter's gesture is as if cut, both in its thickness and in its surface, into multiple interlaced transverse strata and shows the singular dialogue of the painting with the author of its appearance. His works have been regularly exhibited in France and Israel. Two catalogues published by the Centre d' Art Contemporain de la Scène Nationale d' Orléans have been devoted to him with texts by the painter Christian Bonnefoi "La pose du temps" and the art historian Tristan Trémeau "Peindre avec réserve". He himself has devoted several writings to his work as well as to the workshops of artistic practices and cultural projects he conducted at the psychiatric hospital.

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