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Drawing, Graphite on Paper
Size: 8.3 W x 11.7 H x 0.1 D in
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Meeting Julia It is time for the elevation of Julia Filament. Sunday 7th November I finally met her again and we went to the Singer Laren Museum. She is a fine artist, graphic designer and great model. If you like you should check out her site. Next to enjoying Singer’s collection together I had the idea for a longer period of time to work with her again. She is probably the most beautiful girl I have met, witty and into art. Perfect for an artist like me. Some ideas came popping up for poses that day but first I thought to create a drawing based on two reference pictures of her own. Look’s Picture Another reference picture was Look J. Boden’s dating a couple of years back. That one I used for my graphite pencil drawing ‘Roundism – 04-07-17’, a pastel ‘Into the Light – 15-06-17’ and an oil ‘Roundism – 11-02-18’. It is one those scarce examples that I used the same motif thrice in different mediums. That image still lingered in my mind and then I saw some pictures of her, holding her own paintings. I had this idea to work around this original picture and her holding her two times. This resulted in a drawing, within a drawing, within a drawing. Golden Ratio One of the striking features is a tattoo in her neck of a styled tree, a design of her own. Much to my pleasure I recognized a two golden ratio curves entwined. Surely that is something I can relate to, employing them in my works of art often. To me the golden ratio curve is one of the key features I use to induce the feeling of eternity. Another principle is singularity. This having stated I would like to express my highest regards and affection for Julia. Love to work with her again and may these session result in an endless stream of art works. Graphite pencil drawing (Sakura 0.5 mm, 4B) on Talens Bristol paper (21 x 29.7 x 0.1 cm) - A4 format) Artist: Corné Akkers
2021
Graphite on Paper
One-of-a-kind Artwork
8.3 W x 11.7 H x 0.1 D in
Not Framed
Not applicable
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1969, born in Nijmegen. My work can be seen in many countries all over the world. Corné employs a variety of styles that all have one thing in common: the ever search for the light on phenomena and all the shadows and light planes they block in. His favorites in doing so are oil paint, dry pastel and graphite pencil. He states that it’s not the form or the theme that counts but the way planes of certain tonal quality vary and block in the lights. Colours are relatively unimportant and can take on whatever scheme. It’s the tonal quality that is ever present in his work, creating the illusion of depth and mass on a flat 2d-plane. Corné combines figurative work with the search for abstraction because neither in extremo can provide the desired art statement the public expects from an artist. Besides all that, exaggeration and deviation is the standard and results in a typical use of a strong colour scheme and a hugh tonal bandwith, in order to create art that, when the canvas or paper would be torn into pieces, in essence still would be recognizable.
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