Painting, Acrylic on Canvas
Size: 82.7 W x 82.7 H x 1.2 D in
Ships in a Tube
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Oeuvre de la série des "Compositions" (1984/1989). Il s'agit d'un ensemble de peintures et d'aquarelles de format carré présentées en losange, échos des œuvres de Mondrian et Bill sur cette forme. Leur construction géométrique est issue de la superposition du dessin de deux plans orthogonaux inversés - présentant ainsi l'envers et l'endroit d'un même plan - ouverts vers l'extérieur, dissymétriques au regard de la verticale ou de l'horizontale du losange, symétriques par rapport au centre du losange (symétrie circulaire). L'équilibre ici oscille entre l'aplomb des tableaux, les diagonales des losanges et les traits de la composition. Réalisées par superpositions successives de couches de couleurs très diluées, elles sont de facture quasi minimaliste sans traces de gestes ou de couleurs pures. L'oeuvre a été réalisée à l'acrylique sur une toile apprêtée avec un gesso blanc. Elle a une envergure de 210 sur 210 cm. Elle est livrée en tube compte tenu de sa taille.
Painting:Acrylic on Canvas
Size:82.7 W x 82.7 H x 1.2 D in
Ready to Hang:Not applicable
Packaging:Ships Rolled in a Tube
Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
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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