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TROIE - ERSAZT - "Blast" Painting
France
Painting, Acrylic on Acryl paint, canvas, wooden strecher, light varnish and string.
Size: 15 W x 18.1 H x 0.8 D in
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About The Artwork
I have a sculptor approach to painting. What do i do with this material which change state from fluidity in a pot to being dry and solid on canvas. What happens in between is what interest me. Through a process i create an image rather than starting from the idea of an image. I trust material and frontality to always enter the field of "representation". So the sheer presence of the painting is often overwhelming because there is no conflict between the medium the technique used and the image it creates. Like an object, real in its own way. The dynamic specter of marks embodied this aspect of a painting that wants to reach beyond the abstract to an illusionistic rendering of reality. Here is a "Blast", unexpected... The surface is smooth with here and there layer of thicker paint. The varnish used is semi-mat.
Details & Dimensions
Painting:Acrylic on Acryl paint, canvas, wooden strecher, light varnish and string.
Original:One-of-a-kind Artwork
Size:15 W x 18.1 H x 0.8 D in
Frame:Not Framed
Ready to Hang:Yes
Packaging:Ships in a Box
Shipping & Returns
Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
Handling:Ships in a box. Artists are responsible for packaging and adhering to Saatchi Art’s packaging guidelines.
Ships From:France.
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France
"Dyslexie, dysorthographie, dyscalculie..." was what i used to hear when i was a child, which drove me to a "Libre école Rudolf Steiner" where i had a very good time learning and dealing with drawing, painting, wood working, knitting...in a very genuine way. It was never called :"ART", but who cares ? The topic back then had more to do with the Cosmos, vitality, energetic fields, rythm, grows, states of minds, of evolution, self-control, harmony and balance, elements that i kept in mind as i became an artist. Later, i got a BA and a MA of art from the royal College of Arts and design London (1989) but getting "on the ball" is another story. My first commitment was with sculpture in free open spaces. I moved then to abstract painting bringing this habit of "making things" in the process of painting. Recently i got acquainted to figurative painting for its political aspect, the need to respond in a more concrete way to our troubled times.
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