Sans titre
Mathilde Anclin
Fine Art Drawings - 24 x 32 cm Fine Art Drawings - 9.4 x 12.6 inch
CHF 606
Sans titre,
2021
Mathilde Anclin
Fine Art Drawings : Indian ink
21 x 14.5 cm 8.3 x 5.7 inch
CHF 371
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About the artwork
Type
Unique work
Signature
Hand-signed by artist
Authenticity
Sold with certificate of Authenticity from the gallery
Invoice from the gallery
Medium
Dimensions cm • inch
21 x 14.5 cm 8.3 x 5.7 inch Height x Width x Depth
Support
Framing
Not framed
About the seller
Galerie Polysémie • France
Artsper seller since 2013
Vetted Seller
This seller rewards your purchases of multiple artworks
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Discover more by the artist
Sans titre
Mathilde Anclin
Fine Art Drawings - 29.5 x 42 cm Fine Art Drawings - 11.6 x 16.5 inch
CHF 704
Sans titre
Mathilde Anclin
Fine Art Drawings - 20 x 28.5 cm Fine Art Drawings - 7.9 x 11.2 inch
CHF 606
Sans titre
Mathilde Anclin
Fine Art Drawings - 29.5 x 42 cm Fine Art Drawings - 11.6 x 16.5 inch
CHF 704
Sans titre
Mathilde Anclin
Fine Art Drawings - 21 x 14.5 cm Fine Art Drawings - 8.3 x 5.7 inch
CHF 371
Sans titre
Mathilde Anclin
Fine Art Drawings - 21 x 14.5 cm Fine Art Drawings - 8.3 x 5.7 inch
CHF 371
Sans titre
Mathilde Anclin
Fine Art Drawings - 21 x 14.5 cm Fine Art Drawings - 8.3 x 5.7 inch
CHF 371
Sans titre
Mathilde Anclin
Fine Art Drawings - 32 x 64 cm Fine Art Drawings - 12.6 x 25.2 inch
CHF 1,075
Presentation
Mathilde Anclin was born in Metz in 1975. From her degree in Plastic Arts at the University of the Sorbonne, Paris 1, Mathilde Anclin has kept a taste for working on the qualities of matter, creation from textures, in micro , in macro. Her childhood, marked by an education that cut her off from her feelings and emotions, leads her today to rediscover herself through practices close to the body such as dance and somatic practices. It is in the Cévennes that she explores other spaces, combining movement, drawing and nature.
His approach
“I get moving, practicing Contact Improvisation Dance, or I observe the dancers, then I draw. My discovery of dance and Body Mind Centering nourished me in the rediscovery of my body, helped me to feel it. Today I am obviously inspired by these sensations, feelings, emotions, these inner movements that I discover in myself, in contact with nature, and in contact with external movement, in particular that of the spiral, which animates the world, the living and that I see everywhere. I draw what I feel, I create from an emotion and not from a figurative or narrative will.
His research: Live, feel and transmit, through drawing, movement.
How to represent and make feel the movement, succession of instants and forms, when the drawing is finished, frozen in time and in its form?
"I use black and white, as a luminous value and not as a color A line can then represent both the outline of a face and that of a hand. The colors impose a reading, and what I want is for everyone to be able to choose what they want to feel and how they want to interpret the features, where is the interior, where is the outside.
It's often also for this reason that my drawings don't make sense, you can look at them as you want. When you give someone a drawing, the person will first put the sheet in the "right" way. When someone takes one of my drawings, they turn it and turn it over and choose how they want to see it.
There is movement, and choice, the observer becomes an actor, and that's what I'm looking for.
I also play for this on the micro and the macro: the spectator, by choosing at what distance he wants to look at it, must start moving. He makes the double movement, exterior then interior, of placing himself, and that of choosing what he wants to see. »
The work becomes interactive, and the observer co-creates with the artist.
“From there, I started drawing what I feel, drawing textures, emotional sensations, and always in black and white, on large formats. I learned to create from an emotion
and not of a figurative or narrative will. How to look at the drawing, how to interpret the blacks, the whites, the meaning of the drawing, of His intention: to bring this movement to life for the observer by making him an actor in his observation.
I want to make the observer an actor, to set him in motion by his choice. Drawing a crying person does not seem to me more meaningful than drawing waves, or tense lines, both of which can express sadness, for example. For years, children, by my upbringing, my sensations were atrophied, denied, my emotions annihilated.
I was a little afraid to clearly show entwined bodies, sexes, perhaps because of modesty, a fear of shocking and so I went through floral, and more suggestive ways of representing the respondent.
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