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Quai 42,
2023
Marc Vuillermoz
Painting : oil
87 x 87 x 3 cm 34.3 x 34.3 x 1.2 inch
€5,300
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
87 x 87 x 3 cm 34.3 x 34.3 x 1.2 inch Height x Width x Depth
Support
Framing
Not framed
Artwork sold in perfect condition
Artwork location: France
This semi-abstract realistic work captures the industrial atmosphere of a railway station. The rigid architectural lines of the walkways and metal structures create a striking contrast with the blurred, watercolor reflections on the damp ground. The color palette, dominated by pastel shades of pink, blue, and beige, infuses the scene with a soft twilight light, accentuating an end-of-day atmosphere. The number "42" in the upper right intrigues and arouses curiosity, adding a mysterious dimension. The deep perspective guides the eye toward a distant horizon, evoking both movement and stillness. This painting masterfully combines precision and blur, capturing a moment frozen in time while suggesting an unfolding story.
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Presentation
A painter and academic, for around fifteen years I have been combining research and creation to highlight the way in which new media shape our perception of the sensitive world.
The images that inspire my pictorial work are not photographs, but raw images provided by screenshots taken from amateur video clips or the Google maps function. However distinct they may be in their mode of production, these two documentary sources share a common ambition: to deliver to the stunned spectator a striking image of reality while making us forget the artifices that govern its creation. On the internet, one of the main springs of this illusion lies in the solidarity of images in the flow that contains them. Each image builds on the previous one, extends it and replaces it. But when one of them is extracted from its original environment, it disintegrates, becomes strange: all its imperfections, erased until then by the process of succession, stand out with a particular acuity and distance it from its referent. However, the eye instructed by painting immediately finds its bearings and its gratifications there.
What I seek to exploit in my paintings are therefore the pictorial potential of these imperfect images, which sometimes border on abstraction. This aesthetic approach is accompanied by a reflection on the digital image, whose uses, in the era of post-photography, have profoundly changed our understanding of the surrounding reality.
To pictorially translate the "noise" of unprocessed digital images, I have developed a particular technique of oil painting on greasy coatings. After covering a sheet of plywood with a thick layer of coating worked with a spatula, I sand my support to give it a practically smooth appearance. I then paint in successive, very diluted layers. However, as soon as the juices come into contact with the support, the underlying relief reappears because the pigments invest primarily the micro-interstices of the coating crust. This results in a particular vibratory effect: the contours of the objects branch out, the material disperses in unexpected directions, the roughness of the support sometimes contradicts the brushstroke. It is in this permanent tension between the control of the gesture and the randomness that I conceive my pictorial approach.
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