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Sculpture, Acrylic on Wood
Size: 114.2 W x 63 H x 6.3 D in
Artist featured in a collection
Featured in Inside The Studio
The KRYPTA series: Relief and assemblage work, half-painting half-sculpture - geometrical constructions overlaid with painting, drawing and written panels incrusted, intarsia-like, into the supporting frame. The word «Krypta» (from Greek «hidden», «secret») stands for an artistic expression that depicts neither the reality nor the abstraction of our conscious perception of being, but the imago of an unconscious area of the mind not immediately accessible to analytical intelligence. Art Project : L 116 (beuatiful orphans) : This artwork is a project and exists only as a virtual model. Its proposed dimensions are about 160x290x16cm - they can however be adapted (to a reasonable extent) to the wishes of the collector or to an architectural concept. No deposit is requested and after delivery of the completed work the usual returning period of 7 days applies. For the realisation of the artwork please count 10-12 weeks.
Sculpture:Acrylic on Wood
Size:114.2 W x 63 H x 6.3 D in
Juliet Vles is an European multidisciplinary artist, born in 1950 in the Netherlands, of Swiss-French nationality and actually living and working in Switzerland. Essentially an abstract painter and sculptor, whose work is mainly to be found in arte povera and minimal art collections, her artistic interests also include installation work, drawing and digital painting. The works of the Krypta series, half-painting half-sculpture, are geometrical constructions overlaid with painting, drawing and written panels incrusted, intarsia-like, into the supporting frame. The word «Krypta» (from Greek «hidden», «secret») stands for an artistic expression that does not seek to depict reality, nor even its abstraction, but the imago of an unconscious area of the mind not immediately accessible to analytical intelligence. Formally, the hallmark of Vles’ artwork is the unusual combination of its sober, geometrical underlying structure and the multilayered, rough texture of the painted surface. Although often shown in exhibitions featuring Concret Art, her work owes more to the Support/Surface movement than to formal Constructivism. In her recent work, the artist increasingly abandons the notion of "making images" and rather sees her wall sculptures as an extension of architecture - expanding the supporting wall by an additional physical and esthetical dimension. In 2017, the artist started working on a series of reverse glass paintings, revisiting the glass sculptures and installations she created between 1997 and 2003 and drawing on the technical experience she acquired during that period. For the GLASSWORKS please see https://goo.gl/photos/t2kdxM7C4ZjQBy8eA
Artist featured by Saatchi Art in a collection
Featured in Saatchi Art's curated series, Inside The Studio
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