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Le Parvis des Ténèbres

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Le Parvis des Ténèbres Drawing

Laurent Anastay Ponsolle

France

Drawing, Charcoal on Paper

Size: 29.9 W x 22 H x 0 D in

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About The Artwork

This drawing is part of a serie inspired by Dante's Divine Comedy. The drawing is made with charcoal, then I paint with ink and acrylic on it and crushed pastels come in the end.

Details & Dimensions

Drawing:Charcoal on Paper

Original:One-of-a-kind Artwork

Size:29.9 W x 22 H x 0 D in

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Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.

As a self-taught artist, Laurent Anastay-Ponsolle did not have any artistic education. Very early, he wanted to draw in the moment what he saw, which appealed to him. Hands in the subway, movie scenes or moments of everyday life. Just as poses in motion that he likes so much to draw today, he works as if he was photographing, highlighting a pose, or a detail that makes the composition "speak".   These freeze-frames are questions that the artist asks: what was there before? What happens next? Where do these hands come from? Who are these bodies? A never-ending questioning which is found within my work and in its creation.   Through this destabilization, Laurent Anastay Ponsolle searches, digs, tracks memories, memory of the body with brushes and charcoals. By accumulation or erasure, the eye is lost and individuals disappear: infinite embraces, perpetual, forgetfulness of the ego or the other, traits and personalities fade.   Are we narrator, actor or spectator? In this search for identification, it is the flesh that makes us aware of our body. It is his "base" of work, his material: He believes in expressionism of the body, a silent vibration that reflects a state of being, a passion, or a forbidden. In his opinion, the body speaks for the mind when words are missing: "what my language hides, my body says it" wrote Roland Barthes in "Fragments d’un discours amoureux".   
To express this research, his medium of evidence is drawing. Then painting. But even through this one, he makes the drawing appears: saturation, breathing, his repentances are apparent. He scratches, erases, emphasizes ... He forbids hisself the gum, his technique is like his subject, embodied, raw, and spontaneous.

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