Impermanence 09-2022, 2022
Françoise Utrel

Painting : oil

70 x 50 x 2 cm 27.6 x 19.7 x 0.8 inch

€2,000

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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

70 x 50 x 2 cm 27.6 x 19.7 x 0.8 inch Height x Width x Depth

Framing

Not framed


Tags

Portrait

Floral

figurative

Women

Figuration

Blurry

Art History

Semi-abstract

Beige

brown

Artwork sold in perfect condition

Artwork location: France

Inspired by "Ginevra da Benci" by Leonardo da Vinci.

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About the seller

Galerie Séraphine • France

Artsper seller since 2021

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Imagine it at home

Françoise Utrel, Impermanence 09-2022
France

Presentation

ILLUSIONARY BALANCES


Françoise Utrel uses the mineral as a metaphor for our humanity. Mineral matter seems immutable, but it is the result of violent geological upheavals and long periods of erosion. Its apparent solidity does not protect it from imbalance. In her paintings, Françoise Utrel stacks masses in an uncertain manner, suspends them by a thin wire stretched to the extreme on the edge of rupture, or balances them on a simple illusion or even in a state of impossible levitation. Only the immobility of his images on the canvas or the power of the imagination allow us to believe that the next moment will not be an inevitable fall and that there remains possible to resist. These are poetic states of suspensions or levitations made possible by the strength of links and the support of light.



IMPERMANENCES


At the same time, Françoise Utrel continues to explore this notion of fragility, but according to a very different process. She chooses famous portraits from art history. She begins by copying them, then alters their perception by superimposing layers of material. Made like palimpsests, these “Impermanences" bring us face to face with the image of these women and men who lived centuries ago, but who continue to look at us through the thickness of time. This in no way altered the strength of their presence nor the intensity of their gaze. The centuries have passed, but they are still there, silent, both near and far, present and gone. Thus a whole series of views are superimposed, amalgamated and questioned: theirs, that of the painter of these portraits, that of Françoise Utrel and finally that of today's viewer. They confront us with the fragility of all life.

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