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0884_1214 _mythologies,
2014
Yvan Salomone
Painting : Watercolour
96.5 x 137.3 cm 38 x 54.1 inch
€9,500
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 gallery
Invoice from the gallery
Medium
Dimensions cm • inch
96.5 x 137.3 cm 38 x 54.1 inch Height x Width x Depth
Support
Framing
Beige wood frame with plexiglass
Artwork dimensions including frame
101 x 142 cm 39.8 x 55.9 inch
Artwork sold in perfect condition
Artwork location: France
Delivery costs in Paris and its suburbs offered.
[...] Yvan Salomone is one of the few artists who currently bases his work on the intuition of a deep kinship between the two techniques (painting and photography).
Oil, bitumen and turpentine, which were the basis for so-called plenary painting, are often coating materials, whereas watercolour can be light blood or tear water, as is the revealing bath of traditional photography, which August Strindberg liked to compare to the sea, full of sodium chloride, sulfates and magnesium.
This is the lustral seawater that Yvan Salomone (who lives in Saint-Malo) swims in every day, winter and summer, essentially to receive a daily unction and pardon from the medium he collaborates with in painting.
Watercolour is a very demanding medium, which requires technical mastery but also respect for accidents, patience and precision: the water dries quicker than oil, but still slower than one would like, and does not allow for any correction or repentance once it evaporates, leaving the imprint of its pigment on the surface of the paper.
“You’re delusional”, the reader may cry! It’s possible, certainly, but ritual is a fundamental dimension of Salomone’s work. Since 1991, the artist has fixed himself a Benedictine rule (the sea bathing ceremony gives an idea of his capacity for discipline!) which he never strays from, except when he travels: large watercolours emerge from his studio in succession, always in the same format, mostly inspired by industrial sites or deserted ports, or by a no man’s land (in the literal sense - no human figure is ever present in Salomone’s work, like in Eugène Atget’s) of a land forgotten - or rather devastated - by modernity.
Each plate has an immatriculation number, or an inventory number, a title made up of eleven letters, often a portmanteau word that Salomone, an avid reader of Finnegans Wake and Ulysses, is fond of, and is accompanied, practically in secret, not by a caption or comment, but by a secular prayer, as beautiful as it is hermetic [...]
Extract adapted from the text of Didier Semin, “Peindre au-dessous du barrage”, Yvan Salomone catalogue, Déluge & retrait, Ed. Frac Bretagne, 2018, p. 500-502.
Read more
[...] Yvan Salomone is one of the few artists who currently bases his work on the intuition of a deep kinship between the two techniques (painting and photography).
Oil, bitumen and turpentine, which were the basis for so-called plenary painting, are often coating materials, whereas watercolour can be light blood or tear water, as is the revealing bath of traditional photography, which August Strindberg liked to compare to the sea, full of sodium chloride, sulfates and magnesium.
This is the lustral seawater that Yvan Salomone (who lives in Saint-Malo) swims in every day, winter and summer, essentially to receive a daily unction and pardon from the medium he collaborates with in painting.
Watercolour is a very demanding medium, which requires technical mastery but also respect for accidents, patience and precision: the water dries quicker than oil, but still slower than one would like, and does not allow for any correction or repentance once it evaporates, leaving the imprint of its pigment on the surface of the paper.
“You’re delusional”, the reader may cry! It’s possible, certainly, but ritual is a fundamental dimension of Salomone’s work. Since 1991, the artist has fixed himself a Benedictine rule (the sea bathing ceremony gives an idea of his capacity for discipline!) which he never strays from, except when he travels: large watercolours emerge from his studio in succession, always in the same format, mostly inspired by industrial sites or deserted ports, or by a no man’s land (in the literal sense - no human figure is ever present in Salomone’s work, like in Eugène Atget’s) of a land forgotten - or rather devastated - by modernity.
Each plate has an immatriculation number, or an inventory number, a title made up of eleven letters, often a portmanteau word that Salomone, an avid reader of Finnegans Wake and Ulysses, is fond of, and is accompanied, practically in secret, not by a caption or comment, but by a secular prayer, as beautiful as it is hermetic [...]
Extract adapted from the text of Didier Semin, “Peindre au-dessous du barrage”, Yvan Salomone catalogue, Déluge & retrait, Ed. Frac Bretagne, 2018, p. 500-502.
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Presentation
Yvan Salomone was born in 1957 at Saint-Malo where he lives and works.
Salomone paints watercolors in his studio based on preliminary photographs taken from the four corners of the planet. He doesn't reproduce the photos in his works, but liberally interprets them; the photos are a visual starting point. Thus the representation of raw materials (containers, cement, steel, etc.) conflict with the lightness of the watercolors and undergo a metamorphosis to create the singular nature of his compositions.
The massive lines of a container ship or the rusty cylinders of heavy barrels allow him the opportunity not only to free the energy inside these massive objects, but also to give them a voice, without relieving them of their functions. Yvan Salomone shows what speaks, but purifies it, synthesizes it, and transforms it – he leaves the meaning ambiguous, allusive, and open.
Yvan Salomone's landscapes defend reality as well as a poetic dematerialization of it, and impose a perspective to the public as well as a space in suspension.
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