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Prometheus,
2018
Frédéric Choisel
Painting : oil
183 x 152 cm 72 x 59.8 inch
$16,182
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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
183 x 152 cm 72 x 59.8 inch Height x Width x Depth
Support
Framing
Not framed
Tags
Artwork sold in perfect condition
Artwork location: France
Survey the skies
These are skies seen from the earth, seen from men, seen from the solitude of the artist who stands, romantically, in front of immense nature.
These skies that exasperate the palette of the colorist, how to paint the changing color? How to make visible the infinite color chart of this world overlooking us?
Reduce the palette and make the yellows, blues and reds dance like the Impressionist masters? Or get carried away in a synesthetic delirium where each color is a note, where each note is a cloud?
Or, trying to penetrate into the material of the sky to flush out its evanescent color, the colorful invisible, like the Classics in search of the “colour-mood”?
In the works of the painter Frédéric Choisel, we grasp by sight the moods of a sky of intangible essence: ocher, orange, bladder green, purple, umber and bilious black. The clouds in their epiphanic nimbus speak as an oracle. Their messages are good or bad omen depending on whether the sky is clear or threatening.
When the sky is charged, it is akin to apocalyptic visions of times past or to come. Everywhere, an arid nudity, dark expanses advancing towards a horizon from which there is no Jerusalem. A tarred carcass emerges from brackish water as the last remnant of human life.
This "disquiet" that vibrates in several of the artist's canvases translates the fear of a god or of a nature that has the power to annihilate everything, thus leaving us in front of the
hallucinating spectacle of a mauve sky.
There are also canvases that strike by their very different aesthetics. The painter who oscillates between figurative art and abstract art, reconciles forms using different techniques: brush and oil paint for the skies, knife and tar for the land forms. The abstract gesture taints the canvas, tames the clouds with its multiple assaults, covers the purity of the sky with mire and brambles. These operations mutilate and hybridize the works which de facto are part of the discursive and reflexive field of contemporary painting.
Finally what we perceive is that behind the enterprise of painting skies hides an initiation into mystery, a conquest or a reconquest of the gesture of painting, a desire to probe the skies to better understand life. on earth.
Victoria Konetzki
Read more
These are skies seen from the earth, seen from men, seen from the solitude of the artist who stands, romantically, in front of immense nature.
These skies that exasperate the palette of the colorist, how to paint the changing color? How to make visible the infinite color chart of this world overlooking us?
Reduce the palette and make the yellows, blues and reds dance like the Impressionist masters? Or get carried away in a synesthetic delirium where each color is a note, where each note is a cloud?
Or, trying to penetrate into the material of the sky to flush out its evanescent color, the colorful invisible, like the Classics in search of the “colour-mood”?
In the works of the painter Frédéric Choisel, we grasp by sight the moods of a sky of intangible essence: ocher, orange, bladder green, purple, umber and bilious black. The clouds in their epiphanic nimbus speak as an oracle. Their messages are good or bad omen depending on whether the sky is clear or threatening.
When the sky is charged, it is akin to apocalyptic visions of times past or to come. Everywhere, an arid nudity, dark expanses advancing towards a horizon from which there is no Jerusalem. A tarred carcass emerges from brackish water as the last remnant of human life.
This "disquiet" that vibrates in several of the artist's canvases translates the fear of a god or of a nature that has the power to annihilate everything, thus leaving us in front of the
hallucinating spectacle of a mauve sky.
There are also canvases that strike by their very different aesthetics. The painter who oscillates between figurative art and abstract art, reconciles forms using different techniques: brush and oil paint for the skies, knife and tar for the land forms. The abstract gesture taints the canvas, tames the clouds with its multiple assaults, covers the purity of the sky with mire and brambles. These operations mutilate and hybridize the works which de facto are part of the discursive and reflexive field of contemporary painting.
Finally what we perceive is that behind the enterprise of painting skies hides an initiation into mystery, a conquest or a reconquest of the gesture of painting, a desire to probe the skies to better understand life. on earth.
Victoria Konetzki
About the seller
Professional art gallery • France
Artsper seller since 2015
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Presentation
At eleven years old, Frédéric Choisel starts to take his first photographs with an old Pentax camera. It leads him a few years later to the Ecole Supérieur d'Etudes Cinématographiques of Paris. After graduating, he has the honour to work with the painter Gaétan de Rosnay, whose post-impressionist style and contagious enthusiasm for painting had an influence on his artistic researches. The painter encourages him to explore classic painting, the light and the shapes in Dutch and Spanish paintings of the XVIIth century, as well as the French artists as Delacroix, Courbet, Chardin or Corot. The eye is formed and the hand disciplines itself.
Settled in San Francisco, Frédéric Choisel starts a career in audiovisual production with the elusive desire of pictures that takes him away from painting. The contact, sensuality, physical dimension, material, which are absent of photography, are missing him. So he starts to mix his experience of photography with his first classic and realistic paintings. Then, he goes towards the Abstract Expressionists, attracted by the work of Cézanne, and in particular of Kooning and Staël. His work is distinguished: A rigour that led him to be regularly exhibited in San Francisco.
Today, in a great part of his work the idea of "passing" persists as for Frédéric Choisel reality is the combination of several attempts to understand and represent the world. Thus, his new abstract floral series called "Akua" (which refers to the gods of the oceanic islands) distils force, undeniable plastic beauty, but also the dimension of fullness that extends with the time in his presence.
It is a specific manner to walk into the painting by creating new spaces where abstraction is a trend that first takes us further away, and then frees the mind from preconceived ideas.
Read more
Settled in San Francisco, Frédéric Choisel starts a career in audiovisual production with the elusive desire of pictures that takes him away from painting. The contact, sensuality, physical dimension, material, which are absent of photography, are missing him. So he starts to mix his experience of photography with his first classic and realistic paintings. Then, he goes towards the Abstract Expressionists, attracted by the work of Cézanne, and in particular of Kooning and Staël. His work is distinguished: A rigour that led him to be regularly exhibited in San Francisco.
Today, in a great part of his work the idea of "passing" persists as for Frédéric Choisel reality is the combination of several attempts to understand and represent the world. Thus, his new abstract floral series called "Akua" (which refers to the gods of the oceanic islands) distils force, undeniable plastic beauty, but also the dimension of fullness that extends with the time in his presence.
It is a specific manner to walk into the painting by creating new spaces where abstraction is a trend that first takes us further away, and then frees the mind from preconceived ideas.
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