Boia boia
Marie-Noëlle Deverre
Sculpture - 220 x 100 x 20 cm Sculpture - 86.6 x 39.4 x 7.9 inch
€2,600
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Glaucus,
2021
Marie-Noëlle Deverre
Print : linocut, etching, Embossing
50 x 40 x 3 cm 19.7 x 15.7 x 1.2 inch
€600
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About the artwork
Type
Numbered and limited to 3 copies
1 copy available
Signature
Hand-signed by artist
Authenticity
Sold with certificate of Authenticity from the gallery
Invoice from the gallery
Dimensions cm • inch
50 x 40 x 3 cm 19.7 x 15.7 x 1.2 inch Height x Width x Depth
Framing
Grey aluminium frame with museum glass
Artwork dimensions including frame
50.4 x 40.4 x 3 cm 19.8 x 15.9 x 1.2 inch
Artwork sold in perfect condition
Artwork location: France
Embossed linocut, printing on Hahnemühle paper. Unique signed print. Paper 50 × 40 cm, matrix 42 × 30 cm. Custom-made aluminum frame 50 × 40 cm, anti-reflective glass.
This series of prints is inspired by 18th century engravings by Bernard Picart illustrating mythological tales in the work Le Temple des Muses by the Abbot of Marolles. Some prints from the Ô ma muse! refer to Daphne who, pursued by the too pressing suitor Apollo, urges her father, the river Peneus, to protect her by turning her into a laurel tree to escape Apollo's passion. In each of the engravings, fabulous antiquity is revisited. Marine divinities like Glaucus and Poseidon rub shoulders with more terrestrial divinities… Plants or algae, humanities, divinities, everything here seeks to hybridize… Is it a matter of the revegetation of the human being or of a forced humanization of the nature ? In these engravings, a hand without a body appears and disappears in turn. The fingers seem to extend naturally by a vegetation which, from engraving to engraving, is more and more abundant. Purple-pink shapes gradually appear more abstract. In a plastic game, they instigate new shapes, new colors, new materials, as if to follow the movement of metamorphosis. The series takes into account the temporal process of growth. Here, time is not always linear, but sometimes cyclical, and follows a path specific to the fabulous.
Thus, the superimpositions of the matrices are like layers of time which intersect, where the underside mingles with the top to reveal a new image born from chance, from play, from the ardor of the moment. The magic of revelation specific to the engraving process operates even more through these random overlays where repentance is not possible. Each print plays with a margin which architecture and ensures that the impression always remains "in the corner". This way of positioning oneself in space is playful on the one hand, but on the other hand offers an off-screen that lets imagine that we could recompose an image in a puzzle to be reconstituted. In this series, the delicate workmanship of the engraving gives it a certain preciousness where the multiple becomes unique.
Read more
This series of prints is inspired by 18th century engravings by Bernard Picart illustrating mythological tales in the work Le Temple des Muses by the Abbot of Marolles. Some prints from the Ô ma muse! refer to Daphne who, pursued by the too pressing suitor Apollo, urges her father, the river Peneus, to protect her by turning her into a laurel tree to escape Apollo's passion. In each of the engravings, fabulous antiquity is revisited. Marine divinities like Glaucus and Poseidon rub shoulders with more terrestrial divinities… Plants or algae, humanities, divinities, everything here seeks to hybridize… Is it a matter of the revegetation of the human being or of a forced humanization of the nature ? In these engravings, a hand without a body appears and disappears in turn. The fingers seem to extend naturally by a vegetation which, from engraving to engraving, is more and more abundant. Purple-pink shapes gradually appear more abstract. In a plastic game, they instigate new shapes, new colors, new materials, as if to follow the movement of metamorphosis. The series takes into account the temporal process of growth. Here, time is not always linear, but sometimes cyclical, and follows a path specific to the fabulous.
Thus, the superimpositions of the matrices are like layers of time which intersect, where the underside mingles with the top to reveal a new image born from chance, from play, from the ardor of the moment. The magic of revelation specific to the engraving process operates even more through these random overlays where repentance is not possible. Each print plays with a margin which architecture and ensures that the impression always remains "in the corner". This way of positioning oneself in space is playful on the one hand, but on the other hand offers an off-screen that lets imagine that we could recompose an image in a puzzle to be reconstituted. In this series, the delicate workmanship of the engraving gives it a certain preciousness where the multiple becomes unique.
About the seller
Professional art gallery • France
Artsper seller since 2017
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Presentation
Biography
Marie-Noëlle Deverre lives and works in Normandy. She studied at the Beaux-Arts in Caen and at the Universities of Rennes and Valenciennes. As a result, she became involved in numerous multidisciplinary artistic collaborations: video-choreography, performances, creation of costume-objects, scenographies, collaborations with dancers, musicians, visual artists and videographers ...
Over the years, she has participated in video-choreography by Valérie Folliot and Philippe Colette questioning the impact of clothing on movement, as a performer or creator of costume-objects, in particular for dancers and choreographers Wilfride Piollet and Anna Ventura. ; then she took part in the shows of the Théâtre à Grande Vitesse company. She also collaborates with dancers and choreographers Nicolas Hubert, Sandrine Buring, Jean Ribault… Her showcase performance Vivarium Variations has been presented in various places in France as well as at the Meteor Festival in Bergen (Norway). Another performance intersecting plastic and choreographic creation, Entre-là, a project represented by the Modulab gallery, was one of the highlights of the Nuit Blanche Metz 2012. Marie-Noëlle Deverre likes to join forces with other visual artists and videographers (Evelyne Pérard, Nicolas Tourte, Matthieu Chatellier, Rose Lemeunier, Anaïs Lelièvre…), or to musicians (the composer Martin Moulin, the percussionist Vincent Mauduit, the pianist Samuel Boré, the Ensemble Offrandes…).
Artistic approach
Marie-Noëlle Deverre draws, engraves, creates installations, performances and portable sculptures.
“Through these different practices, she builds bridges that connect her dream-filled imagination to the embodied reality of the body, this fragile and malleable envelope, doomed to perpetual metamorphosis. "
Sam Denam, journalist
“Gesture, skin, memory. Play with the negative and the positive. Question the double. Reverse the mirror. Cross it? Marie-Noëlle Deverre's approach is embodied in multiple artistic practices, in order to explore these fields in an intimate way, in a continuous movement, a going towards. Perpetual research, his engravings, drawings, sculptures, installations, performances, come to question the body: the body in the flesh and the imagined body - his own and that of the other. In each of her works, in two or three dimensions, she invents bridges between matter and thought. It highlights the fragile and deep links that unite the materials, and the sensory and poetic universes they give rise to. ”
Caroline boudehen
“Marie-Noëlle Deverre works dreams in the body. She experiments with various techniques (engraving, textile sculptures, installations); she chooses her materials among those offered by everyday life or chance, with a predilection for anything reminiscent of molts, shells or shells. By exploring the relationship of the body to the envelope, she offers dancers sculptures ready to wear, to inhabit, to set in motion; by drypoint engraving on packing boxes, she gives a second life, poetic and confusing, to these everyday scraps.
Performances, engravings or installations in the landscape, the works of Marie-Noëlle Deverre are always universes in transformation, dreams that can be remodeled to infinity. His projects interpenetrate or recycle to give birth to new productions. Involving desire or frustration, we often find the echo of the fantasized worlds of childhood. "
René Guyaumarch '
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