L'ogre, Circa 2008
CY Pavel  

Painting : oil · 133.5 x 100.5 x 3.5 cm 52.6 x 39.6 x 1.4 inch · Ready to hang

€9,000 9 000 €

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Shipped from: France

Delivery to: France , € 188

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About the artwork

Type

Painting : Unique artwork

Condition

Artwork sold in perfect condition, framed, ready to hang

Authenticity

Sold with certificate of Authenticity from the artist

Invoice from the gallery

Signature

Hand-signed by artist

Technique & Support

oil on canvas

Dimensions ( cminch )

133.5 x 100.5 x 3.5 cm 52.6 x 39.6 x 1.4 inch Height x Width x Depth

Artwork dimensions including frame

133.5 x 100.5 x 3.5 cm 52.6 x 39.6 x 1.4 inch

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Credentials

Vetted seller since 2021

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This seller offers discount when you purchase multiple artworks.

Description
“The Ogre” is a striking work of art brut that depicts a monstrous ogre figure. The monster is shown laughing, revealing a multitude of sharp teeth. The textured appearance of the work makes the ogre's skin appear rough and dislocated, adding to its disfigured appearance. The ogre's head is highlighted by raw black lines that delineate the contours, creating a striking visual contrast.
This representation of the ogre is deliberately non-proportional, which reinforces its naive appearance. The artist uses a simplified style, with exaggerated shapes and rudimentary details, which gives the work a raw and primitive aesthetic. The ogre is expressively depicted, with distorted features and an exaggerated facial expression, capturing the intensity and savagery of this mythical creature. This work invites the viewer to explore the boundaries of art and appreciate beauty in unconventional and unexpected forms.


Copal oil on linen canvas under glass mounted on canvas frame.

Temporary protection frame in wood color.
CY Pavel, L'ogre

CY Pavel

France  • 1956

Presentation

Visual artist, graduated from the Ecole Nationale Supérieure des Beaux-Arts in Paris. Associate of Plastic Arts. Born in 1956 in Paris. He began his journey in the context of Free Figuration, but then felt close to Les Nouveaux Fauves de Berlin and exhibited neo-expressionist painting which, while remaining figural, moved away from narrative figuration. The first Couples (or Duos) establish a dialectical staging within the painting, where masculine and feminine tensions, dialogue and confrontation, masks and figures, the reversibilities of desire are played out.
At the same time, his experience as a university teacher enriched him with decisive insights into contemporary plastic expression and new media; in return, he better understood the specificities of “mediumpeinture". Confronted in the Grands Couples with the test of a figuration which constructs itself, self-destructs, covers itself, because it is always "too painted" in his eyes, still too narrative, he opened, in 1993, the way to the Palimpsests which will be at the heart of the artist's future approach. A long-term work on the “disappearance" of painting, the threat of its ruin, its memory; and where the phenomenological character of the pictorial fabric is manifested, its fragility, as much as its paradoxical durability. Carried by an even more radical process, this problem will then be replayed in the Série des Brûlées; these are remnants of canvases painted with resinous oil and preserved under glass, as if preserved for a time from the erosion which they are already carrying. They revoke the status of images and become a sort of pictorial and pathetic “skin", but which continues to represent us again.



In 2009 a major retrospective at the Les Esselières Congress Space in Villejuif demonstrated this approach. It was a decisive experience for questioning the intrinsic nature of painting, the painting object and their relationship to the figured body. To this day, the Palimpsests continue the open path and are revealed to the public as a counterpoint to the different series (Duets, Solos, Curiosities, Survivances, Invisibles...). Building on this experience, the artist claims a figuration nourished by the "catastrophes" she has experienced - as if outside of time - even archaic, always more anchored in the physical substrate of the painting and which attests, ultimately, to a return to the table is always possible. The figuration becomes one with the material and structures the pictorial film, where the haptic dimension is inseparable from the image and the sign.



"The visual event of the painting only occurs from this tear which separates before us what is represented as remembered, and everything which presents itself as oblivion." Georges Didi-Huberman, in Front of the Image

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