45°40' N, 142°10' E, 2019
Stéphane Spach  

Photography : pigment ink · 40 x 108 x 0.5 cm 15.7 x 42.5 x 0.2 inch

€1,900 1 900 €

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Shipped from: France

Delivery to: France , € 29

Estimated delivery: One to two weeks

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Verified Reviews : 9.6/10
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About the artwork

Type

Photography : numbered and limited to 5 copies

1 copy available

Condition

Artwork sold in perfect condition, not framed

Authenticity

Sold with certificate of Authenticity from the artist

Invoice from the gallery

Signature

Not Signed

Technique & Support

pigment ink on Diasec and Dibond

Dimensions ( cminch )

40 x 108 x 0.5 cm 15.7 x 42.5 x 0.2 inch Height x Width x Depth

Sold by

Credentials

Vetted seller since 2017 • Top Seller

Discount

This seller offers discount when you purchase multiple artworks.

Description
Disappearing Islands series.
Pigment inks on Hahnemühle 308 gr pure cotton paper mounted in aluminum Dibond, diptyque
Ready to hang.

This photographic series leads us to think of photography as a cartographic tool. We discover plans of islands that have now disappeared under water: the titles are actually geographical coordinates. The artist models mirage landscapes using blue pigments and performs a two-step shooting protocol. He stares at these islands just before they disappear.

The photographic medium and the materials chosen extend the evocation of a fragile and ephemeral character in the face of the test of time. At a time of issues related to the protection of the environment, this proposal warns our perception of nature and invites us to adopt a preventive approach to its destruction. The work here is the trace of an impossible return to the past.

Klein Blue.

Abstract

Environmental art

Cartography

Island

Diptych Artworks

Blue

Stéphane Spach, 45°40' N, 142°10' E
France  • 1962

Presentation

Stéphane Spach's photos are beautiful. Of that obvious beauty, which escapes the decorative, the necessary beauty stripped of simple things. Stripped but may not be ascetic. A touch of sensuality, a soft chromaticism readily inhabits the work of the melancholy photographer. Looking at these photographs, we see that there is day in the night, it is a night to which our eyes are not accustomed, a dull and deaf night, preserved from luminous halos and hostile headlights. Everything is in nuances, as if the exhibited objects gave off their own phosphorus, their own interior light. Rather, it would be the light of day distilled into the night, subtle, almost intimate images, where one is never in halogen.

Reviews from our customers

All our reviews are extracted from Verified Reviews

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