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France
Painting, Acrylic on Wood
Size: 70 W x 54 H x 1.8 D in
Ships in a Crate
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Acrylic on wood. This painting depicts an underwater world (Atlantis?) inhabited by marvellous creatures. In the foreground, at the bottom of the painting, three fish emerge from behind the coral: one is purple and elongated; the other, pinkish in colour, has a moustache; the last, green and round, emerges from its hiding place to follow its companions and see what is happening a little further up towards the surface. There, a little bird being, dressed in a blue suit and cape, is riding a beautiful seahorse holding a trident in its tail. Both are proud, majestic and daring. Are they preparing to face the swordfish boat that is rushing towards them, splitting the depths with its long, sharp rostrum? Or are they simply wandering in a dream, an ancient kingdom, contemplating a past steeped in mythology? In the background, we can make out the remains of a Greco-Roman temple, or maybe it's just an apparition, the figment of our little hero's imagination as he rides his horse. In any case, the boldness of the two protagonists does not seem to be to everyone's taste. A dazzling flash of lightning breaks the surface and plunges into the sea, illuminating the ocean floor. Is Poseidon showing his anger at being challenged by a bold little bird? Little Poseidon and his seahorse couldn't care less about the thunderbolts of the gods. Intrepid they dream themselves, intrepid they will be.
Painting:Acrylic on Wood
Original:One-of-a-kind Artwork
Size:70 W x 54 H x 1.8 D in
Frame:Not Framed
Ready to Hang:Yes
Packaging:Ships in a Crate
Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
Handling:Ships in a wooden crate for additional protection of heavy or oversized artworks. Crated works are subject to an $80 care and handling fee. Artists are responsible for packaging and adhering to Saatchi Art’s packaging guidelines.
Ships From:France.
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France
"Human beings are thrown unwillingly into strange destinies that are foreign to them. Art is the miracle by which our lost dreams are restored to us". A self-taught artist, I began painting around ten years ago, shortly after the birth of my son. What led me to painting? Essentially the need to escape a boring professional life, to reconnect with my childhood dreams at a time when I'd lost my way, and the desire to bring fantasy to everyone (young and old). I was fascinated by the magnificent illustrations I discovered in the children's books I read to my son, and I wanted to create my own images, my own paintings, that would tell the story of my inner world, my dreams, my fantasies, my ideals. I wanted to paint what transported me, so as never to forget it, to keep a memory of it that I could pass on, communicate. I wanted to paint to reconcile myself with a life in which I didn't really recognize myself, to rediscover who I was, at last. To understand the past, accept the present and love it. Because beauty is everywhere after all, and because it's always possible to recreate meaning. When I create characters in pencil, I never know in advance what I'm going to draw. I let my hand go, and then I see what appears. I like not knowing where my gesture will lead. I like to be surprised by what emerges from the first strokes of my pencil. I have the pleasant impression of accessing something of myself that had been lost (in my unconscious or in my distant memories, who knows?). Once I've collected a large enough number of pencil drawings, I look for the ones that could be assembled in a single scene, the characters who could have adventures together within a single painting. I spend a lot of time creating these compositions. Once I've discovered which characters have something to say to each other, and in which setting they might evolve, I move on to painting. I always paint my background first (a natural landscape) and then insert my characters. Everything is done in acrylic gouache. Painting and drawing seemed to me to be more reliable, more powerful means of expression than texts and speeches. Trained as a linguist, I spent a long time working on words and the construction of meaning, when I was preparing my doctoral thesis. The polysemy of languages can be so dizzying! Although I've always been sensitive to the poetry of literary works and the beauty of well-crafted arguments, I'm less moved by them today than by the poetry or beauty of images.
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