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Tressage,
2017
Urban Art Fair 2025
Jeremy Vatutin
Painting : zinc
62.3 x 63 x 3 cm 24.5 x 24.8 x 1.2 inch
$2,017
One of the last works available by this artist
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About the artwork
Type
Unique work
Signature
Hand-signed by artist
Authenticity
Sold with certificate of Authenticity from the artist
Invoice from the gallery
Dimensions cm • inch
62.3 x 63 x 3 cm 24.5 x 24.8 x 1.2 inch Height x Width x Depth
Support
Framing
Black floater frame
Artwork dimensions including frame
64.2 x 65 x 4 cm 25.3 x 25.6 x 1.6 inch
Artwork sold in perfect condition
Artwork location: France
Here is a possible description of this work:
Technique: Braiding of old zinc and anthracite zinc
This work by Jérémy Vatutin is a structured composition where industrial material becomes an artistic language. The braiding of strips of old zinc and anthracite zinc creates a checkerboard pattern that plays on perception and depth. The contrast between the patina of the old zinc and the opacity of the anthracite zinc gives the whole a rich and subtle visual texture.
The alignment of the bands, sometimes irregular, introduces a dynamic of rupture that draws the eye towards the center of the work, evoking an optical vibration or a progressive alteration of the weave. The use of metal, usually intended for utilitarian functions, is here diverted to produce a minimalist and raw aesthetic, emphasizing the materiality and memory of recycled materials.
Presented in a sober black frame, the work stands out for its balance between geometric rigor and organic variations.
Imagine it at home
Presentation
A companion of duty, Jérémy Vatutin draws from his experience a poetic approach to architecture and a fascination for materials.
Inspired by optical and kinetic art, he creates unique works from zinc and lead recovered from the rooftops of Paris. These metals patinated by time, witnesses of an urban memory, become the raw material of his creations.
In his studio, he develops a process he calls "oxidography", where time, humidity and his intervention reveal the graphic and textured nuances of the metal. His works, halfway between sculpture and painting, often combine new and old fragments to question the passage of time. They bear the names of the collection locations, tracing the history of the buildings and acting as memory transmitters.
His work explores oppositions such as full and empty, mobile and immobile, or fold and unfold, while highlighting the invisible and the paradox of a creation born from utilitarian materials doomed to oblivion. By repairing roofs, Jérémy says he is trying to “repair the world," transforming fragments of architecture into captivating works of art, at the crossroads of art and craft.
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