Noumène #3,
2022
Parole
Painting : acrylic
137 x 105 x 2.5 cm 53.9 x 41.3 x 1 inch
CHF 3,909
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
137 x 105 x 2.5 cm 53.9 x 41.3 x 1 inch Height x Width x Depth
Support
Framing
White floater frame
Artwork dimensions including frame
143 x 110 x 5 cm 56.3 x 43.3 x 2 inch
Tags
Artwork sold in perfect condition
Artwork location: France
This contemporary work features a series of white and grey vertical lines, creating a subtle contrast on a monotone canvas. The strokes, slender and blurred, evoke a sense of movement and fluidity. The artist uses a brushing technique to achieve this textured and ethereal effect. The originality lies in the minimal use of colours, which highlights the shades of grey and white. The play of transparency and opacity gives depth to the composition, inviting the observer to a silent introspection. This painting exudes an atmosphere of calm and meditation, while captivating with its sophisticated simplicity. The variations in the thickness and density of the lines bring an intriguing visual dynamic, testifying to the artist's talent for transforming minimalism into an immersive experience.
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Discover more by the artist
Presentation
Born in 1982, lives and works in Brussels, Belgium.
Painter, performer and sculptor, self-taught from graffiti, Parole is an artist who refuses the assignment of practices. He focuses on the distortion of signs, phonetics and words, in the service of a work that always gravitates around writing.
Words spring spontaneously from the emptiness of the sheet, an unpredictable product of his emotions and the clash of letters that create novelty.
This work can be deciphered as visual music with its own rhythms, symmetries and silences. The spontaneous writings that he develops cannot be dissociated from his urban strolls and graphic ramblings.
Thanks to ever-increasing stakes, he elevates his graffiti to the level of imagination and poetry, halfway between calligraphy and the logogram.
It is a matter of inventing as much gesturally as textually, of twisting, deforming, kneading and massaging the letters until they become illegible, opaque to all readings, resistant to their status as codes, conventions for intersubjective communication.
Their obscurity does not mean that they are empty of meaning; on the contrary, they free up a space for questioning and interpretation.
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