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Drawing, Ink on Paper
Size: 19.7 W x 27.6 H x 0 D in
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Drawing/Painting on Watercolor Paper 50x70 cm / 19,68x27,55 in * Ships not frame * 'Garden In April 1' is an artwork inspired by nature, with organic lines suggesting a floral universe that would regain strength after the winter decline. Garden In April 1' is part of a series of works in ink and bissap juice, the hibiscus flower, which by oxidation on the paper has taken on a bluish color, normally red when the petals are macerated. This alchemical principle accentuates the transformation of nature from one season to the next. * C'est un dessin aux inspirations de la nature, avec des lignes organiques suggérant un univers floral qui reprendrait vigueur après le déclin hivernal. 'Garden In April 1' fait partie d'une série de réalisations à l'encre et au jus de bissap, la fleur d'hibiscus, qui par oxydation sur le papier a pris une coloration bleutée, alors normalement rouge lorsque les pétales sont macérées. Ce principe alchimique vient accentuer la transformation de la nature d'une saison à l'autre.
Drawing:Ink on Paper
Size:19.7 W x 27.6 H x 0 D in
Ready to Hang:No
Packaging:Ships in a Box
Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
The work of Marijah Bac Cam questions the Memory of the Living through the Languages of the Feminine Principle (creative principle of Nature) by means of drawing, painting and increasingly photography and video. What does this chaos of fullness and emptiness mean, enhanced with dots, curves, golden wefts and gestural writing? In the artist's painting we perceive a Living being organized before our eyes, starting with the diffusion of black ink. These dark masses mingle with another color to symbolize the different elements, air, water, fire, earth, ether. Suddenly an organic mesh forms on the surface, connected to the misty depth. It is a question of reversal, as if to lead our gaze towards an inner world, that of the organs, tissues, vessels of an unrepresented body. These drawings express more sensibly an intuitive word in a vegetal and vibratory atmosphere that are our buried memories. They are the representation of the original past in a form that is no longer mental but metaphorical. Graffiti sometimes float here and there, like a palimpsest as if to inscribe a forgotten verbal dimension and question the meaning of forms. Her work evokes images that are almost figurative but difficult to identify. It's a question of everyone's point of view, seen from the sky or underwater, in macro or even in a wide shot. This collective memory seems to define and tell terrestrial and extra-terrestrial landscapes. Does Nature have a universal language that hides in our memory?
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