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The Sorrows of Dark Grey (2017)
Oil Painting on Cotton Canvas / Palette Knife Painting
Painted in Lucca, Tuscany (Italy)

This is a depiction of the sorrows of Dark Grey, a fictional character from a non-existing story. Since a non-existing story is longer than fiction, this is obviously just a fragment.

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The Sorrows of Dark Grey Painting

Emanuel Crudu

Germany

Painting, Oil on Canvas

Size: 19.7 W x 19.7 H x 1.4 D in

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$400

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320 Views

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ABOUT THE ARTWORK

The Sorrows of Dark Grey (2017) Oil Painting on Cotton Canvas / Palette Knife Painting Painted in Lucca, Tuscany (Italy) This is a depiction of the sorrows of Dark Grey, a fictional character from a non-existing story. Since a non-existing story is longer than fiction, this is obviously just a fragment.

DETAILS AND DIMENSIONS
Painting:

Oil on Canvas

Original:

One-of-a-kind Artwork

Size:

19.7 W x 19.7 H x 1.4 D in

SHIPPING AND RETURNS
Delivery Time:

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

"After all everyone dances to his own personal boomboom" (Tristan Tzara) Nomadic artist in movement between Paris, Lucca in Tuscany and now based in Berlin, after living in all cardinal points of Europe. Oil is my preferred painting medium for its ability to oppose substantive resistance and challenge my initial choices or instincts by leading me into alternative unintentional combinations and visual textures. My paintings are abstract in the residual sense of escapism: I pursue abstraction as something that eludes my experience or any given experience, something that takes me out of the self and not something that conflates the self into an egotistic paroxysm of any superior knowledge, perception or skill. Painting is an opportunity to encounter beauty as accidentality: unplanned, unpredictable and unconstrained. Yet always in confronting the ambiguity and substantiation of matter. My abstractions are expressive shapes taken by the banality of being, and not at all a deep psychoanalytical style of search for something deeply hidden. I don’t paint to uncover the hidden, but rather to cover up the lack of meaning in a world with no metaphysical prospects or substantive reasons for optimism. And all happens in the circumstances that the temptation for optimism cannot be fully abandoned. My abstractions are visual signs kidnapped from my daily views on the world, combining active optimism and pessimism altogether in what I call a 'romantisme dés-espéré'.

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