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Lumières en Armure Print

Emanuel Crudu

Germany

Open Edition Prints Available:
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10 x 10 in ($40)

10 x 10 in ($40)

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Black ($80)

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Metal: Dark Pewter ($150)

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$40USD

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ABOUT THE ARTWORK
DETAILS AND DIMENSIONS
SHIPPING AND RETURNS

Lumières en Armure (2019) Original Oil Painting on Canvas Paulette Knife painting with rough textures Painted in Paris. "Je veux t'embrasser je t'embrasse Je veux te quitter tu t'ennuies Mais aux limites de nos forces Tu revêts une armure plus dangereuse qu'une arme" Paul Eluard, L'Univers Solitud...

Year Created:

2020

Subject:
Medium:

Print, Giclee on Fine Art Paper

Rarity:

Open Edition

Size:

10 W x 10 H x 0.1 D in

Ready to Hang:

No

Frame:

Not Framed

Packaging:

Ships Rolled in a Tube

Delivery Cost:

Calculated at checkout.

Delivery Time:

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

Returns:

All Open Edition prints are final sale items and ineligible for returns. Visit our help section for more information.

Handling:

Ships rolled in a tube. Art prints are packaged and shipped by our printing partner.

Ships From:

Printing facility in California.

Need more information?

Need more information?

"After all everyone dances to their 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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