Les beautés endormies
Sandrine Stoïanov
Painting - 60 x 81 x 2 cm Painting - 23.6 x 31.9 x 0.8 inch
$4,212
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Histoire de règles et de cheveux,
2023
Sandrine Stoïanov
Painting : oil
70 x 50 x 2 cm 27.6 x 19.7 x 0.8 inch
$3,276
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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
Support
Framing
Black floater frame
Artwork dimensions including frame
74 x 54 x 2.5 cm 29.1 x 21.3 x 1 inch
Artwork sold in perfect condition
Artwork location: France
This work depicts a vibrant and intimate subway scene where a mother combs her daughter's hair. Their facial expressions, capturing an everyday moment, are rendered with emotional precision. The little girl, dressed in a star-patterned coat, holds a pink umbrella, contrasting with the drab décor of the train car. The dynamic brushstrokes and warm colors of the figures contrast with the cold, metallic complexion of the subway interior, emphasizing the family bond amidst the surrounding hustle and bustle. The blurred and distant figures in the background reinforce the focus on this intimate interaction. The artist succeeds in capturing a tension between movement and stillness, between the public sphere and the personal moment, thus offering a profound look at human interactions in shared spaces.
About the seller
Paul Stewart Gallery • France
Artsper seller since 2016
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Une vie d'amour
Sandrine Stoïanov
Painting - 73 x 60 x 2 cm Painting - 28.7 x 23.6 x 0.8 inch
$4,680
Presentation
A former student of the Beaux-Arts d'Épinal and Reims, where she studied conceptual art, Sandrine Stoïanov trained in cartooning on the job after a spell at Gobelins l'école de l'image. She has co-directed two short animated films with writer-director Jean-Charles Finck that are very personal to her: Irinka & Sandrinka (2006) and Le Monde en Soi (2020), nominated for a César in 2022.
For the latter, the script demanded that she return to her first love of painting and tackle a technique she had never practised before: oil painting. It was a turning point. With the help of isolation and time in confinement, she very quickly found, over and above well-digested influences, her own touch, a personal gesture, her 'way'... which she has been expressing in her canvases ever since. So, almost incidentally, she became a painter. Like the character in her film (who already looked a lot like her). Life imitates art.Her artistic approach is to give faces to the cultural mix of urban society. To take the 'long time' required by the technique of oil painting and the patient observation of his contemporaries, to reveal what they simulate and what they mask, in the manner of a Degas, a Lautrec, or perhaps a Hopper, thus rediscovering the light of a social naturalism, but of today. Painting human beings caught up in the modernity of their attachments, their contradictions and aspirations, the weight of their daily lives, and thus creating portraits of people we are not used to seeing represented in this light, particularly women. Little by little, she built up her body of work.
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