Presentation

We are a duo of artists who work from traditional manual techniques (ink, acrylic, charcoal, chalk, pastel, ballpoint pen ...) mixed with digital art. If the initial drawings are always in black and white, figurative, with a great importance given to the composition, combining unfinished subjects and loaded backgrounds, their transformation via digital art has become totally essential to us. We like to walk on the ridge lines, and unite the opposites, or the complementary ones: life to death, feminine flesh to skeletal bone, the real to the fantastic, youth to old age, time passing, what it takes and what it leaves and, more recently, the language to vision. Indeed, if the image predominates, we also write texts that we try to associate with them, the visual, cognitive and emotional associations emerging from a work proving to be essential, as an underlying common thread. Places full of mystery, galleries of bones, ruins, forests or sanctuaries, the human body (face, gaze, hands), the skeletons, the realistic animal and the dreamlike plant, the very links between man and animal, woman and vegetation, femininity hidden in youthfulness, metamorphosis, monstrosity, confrontation with death or the supernatural represent our major sources of inspiration. And we collect naturalia, skulls, fossils and taxidermies, which we are thinking of adding to our graphic works. We try to create images that often have a dreamlike part, which is therefore fantastic, which can make them enigmatic, with something ambiguous whose meaning is not immediately revealed. Or mixing several characters while leaving doubt on what they can be in relation to each other or on the intentions they hide. We love penetrating atmospheres, where the familiar becomes strange, carrying something beyond it, and we appreciate what is bathed in timelessness, passed through the filter of memory and time. We would like to achieve a certain psychological density, so that the full meaning of an image is never exhausted. If we remain attached to the narration that can accompany an image, we also wish to establish bridges between figurative and abstract, which seem to us to be two resolutely complementary paths to each other and this, all the more so when the abstract result rubs shoulders with its figurative origin: the dialogue between the two seems to us to be enriched, hence the ever greater importance that we attach to the diptychs, even to the triptychs which stage this dialogue. Among our influences are classical painting (Vermeer, Rembrandt, Vélasquez), 19th century illustrators (Doré, Rops, Daumier), impressionists, pre-Raphaelites or symbolists like Moreau or Redon, as well as the 20th century ( Druillet, Giger) and photographers with particular universes who work mainly in black and white (Irina Ionesco, Sally Mann, Jerry Uelsmann, Michael Kenna, Jean-Michel Fauquet…). Literature and cinema also feed us in abundance.
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Who is the artist?

We are a duo of artists who work from traditional manual techniques (ink, acrylic, charcoal, chalk, pastel, ballpoint pen ...) mixed with digital art. If the initial drawings are always in black and white, figurative, with a great importance given to the composition, combining unfinished subjects and loaded backgrounds, their transformation via digital art has become totally essential to us. We like to walk on the ridge lines, and unite the opposites, or the complementary ones: life to death, feminine flesh to skeletal bone, the real to the fantastic, youth to old age, time passing, what it takes and what it leaves and, more recently, the language to vision. Indeed, if the image predominates, we also write texts that we try to associate with them, the visual, cognitive and emotional associations emerging from a work proving to be essential, as an underlying common thread. Places full of mystery, galleries of bones, ruins, forests or sanctuaries, the human body (face, gaze, hands), the skeletons, the realistic animal and the dreamlike plant, the very links between man and animal, woman and vegetation, femininity hidden in youthfulness, metamorphosis, monstrosity, confrontation with death or the supernatural represent our major sources of inspiration. And we collect naturalia, skulls, fossils and taxidermies, which we are thinking of adding to our graphic works. We try to create images that often have a dreamlike part, which is therefore fantastic, which can make them enigmatic, with something ambiguous whose meaning is not immediately revealed. Or mixing several characters while leaving doubt on what they can be in relation to each other or on the intentions they hide. We love penetrating atmospheres, where the familiar becomes strange, carrying something beyond it, and we appreciate what is bathed in timelessness, passed through the filter of memory and time. We would like to achieve a certain psychological density, so that the full meaning of an image is never exhausted. If we remain attached to the narration that can accompany an image, we also wish to establish bridges between figurative and abstract, which seem to us to be two resolutely complementary paths to each other and this, all the more so when the abstract result rubs shoulders with its figurative origin: the dialogue between the two seems to us to be enriched, hence the ever greater importance that we attach to the diptychs, even to the triptychs which stage this dialogue. Among our influences are classical painting (Vermeer, Rembrandt, Vélasquez), 19th century illustrators (Doré, Rops, Daumier), impressionists, pre-Raphaelites or symbolists like Moreau or Redon, as well as the 20th century ( Druillet, Giger) and photographers with particular universes who work mainly in black and white (Irina Ionesco, Sally Mann, Jerry Uelsmann, Michael Kenna, Jean-Michel Fauquet…). Literature and cinema also feed us in abundance.

When was Luc Vivès & Christine Argot born?

The year of birth of the artist is: 1966