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Three Abstract One / Moonlit Fall Leaves Painting

Genevieve Esson

United States

Painting, Acrylic on Other

Size: 11.5 W x 37 H x 0.5 D in

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$1,060

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ABOUT THE ARTWORK

This is the backside of the Moonlit Fall Leaves painting. This piece is a doppelgänger. It is inspired by the public art project I did for Maplewood in Spring of 2020 right before the Covid 19 Pandemic hit the USA. I literally did back to back artwork on a most amazing public artwork for the aforementioned. On the back of this art is another abstract art piece. It was a desperate time. Covid 19 had just hit the fan and I was on deadline to get the project completed. However I didn't know the community art painting for the backside was to be cancelled yet, not until the following week. I had to get it done, out of my studio and onward. Feeling like a Marvel Comic figure from a Stan Lee production I applied my iron will strength hoisting the heavy frames of references (over 50 lbs.each, up and down my studio steps, 9 all together). Thank God I always rolled the Crazy Wheel and the Irish Mail when I was much younger at our house on Kingsbury Ave. in UCity). The back side pieces were all framed on heavy pine and there were nine of them. So if you have no appreciation of what public art is, now is the time to delve and feel. I was honored to have been picked for this project, but at the same time disappointed that the Community Art Project never transpired because of the effing Pandemic. I had to get the whole project out before its due date, all on my own damn time.This artwork is a multimedia piece created on one of the PVC test boards for the project. Since I was so scared, and not sure what to expect I put artwork on the back. I wasn't sure what to expect from the future. On the front, I used acrylic paint, old dried paint from the bottom of palettes and a palette. I cut the leaves out out of that nasty plastic styrofoam sheeting for packaging. I used painted and stamped paper for the background and texture tools. I wasn't sure what to expect. Since the board was so durable and unique to using a canvas i could wrap some of the piece in front to the back. That gave me the idea for the doppelgänger art. I completed the back with 3 abstract paintings that I tied together thinking of the steps I had taken to complete the Maplewood Stop Transformation Project. This is the backside of the Moonlit Autumn Leaves Painting. i got the whole project done, all on my own. On time. It was so crazy. I was nonstop, and communicating with people in LA who were already on lock down and Washington DC. It was all so surreal. I hope and pray that people realize that I created this artwork for people to enjoy. It was created at a time of desperation. So much was running through my head at the time. I may be back for edit. Also stay tune for the doppelgänger. The piece on the back.The monkey.I do this all for the love of art. Peace. Love Light.

DETAILS AND DIMENSIONS
Painting:

Acrylic on Other

Original:

One-of-a-kind Artwork

Size:

11.5 W x 37 H x 0.5 D in

SHIPPING AND RETURNS
Delivery Time:

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

Genevieve Esson has a B.A. in Painting from Webster University, an award winning artist, her work is collected regionally and internationally. Esson is a painter and multi media artist and has completed 20 Public Art Projects. Her main medium is painting in acrylics. Born and raised in St. Louis, Missouri, she participates and exhibits her artwork at fairs, festivals, gallery shows, coffee houses, hospitals, restaurants and LIVE art events. Esson makes paintings and mixed media artworks. By merging several seemingly incompatible worlds into a new universe, Esson tries to increase the dynamic between audience and author by objectifying emotions and investigating the duality that develops through different interpretations. Her works isolate the movements of humans and/or objects. By doing so, new sequences are created which reveal an inseparable relationship between motion and sound. By questioning the concept of movement, she uses a visual vocabulary that incorporates time as well as space – a fictional and experiential universe that only emerges bit by bit. Her works are based on imaginary associations which open a unique poetic vein. Multilayered images arise in which the fragility and instability of our seemingly certain reality is questioned. With a conceptual approach, luring the viewer round and round in circles, she finds that movement reveals an inherent awkwardness, a humour that echoes our own vulnerabilities.

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