Devant, 2026
Fine Art Drawings : ink, paper, ballpoint pen, collage · 32 x 24 x 1 cm 12.6 x 9.4 x 0.4 inch
Shipping & delivery
Shipped from: France
Delivery to: France , € 25
Estimated delivery: One to two weeks
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Verified Reviews : 9.6/10
About the artwork
Type
Fine Art Drawings : Unique artwork
Condition
Artwork sold in perfect condition, not framed
Authenticity
Sold with certificate of Authenticity from the artist
Invoice from the gallery
Signature
Hand-signed by artist
Technique & Support
ink , paper , ballpoint pen , collage on paper
Dimensions ( cm • inch )
32 x 24 x 1 cm 12.6 x 9.4 x 0.4 inch Height x Width x Depth
Sold by
Art gallery
Credentials
Vetted seller since 2021 • Top Seller
Discount
This seller offers discount when you purchase multiple artworks.
Description
The line asserts itself with instinctive freedom. The black ink draws the contours of a face in full mutation, whose gaze fragments. The lines intersect in precise hatching, creating a play of shadows and reliefs.
The paper welcomes washes of gray ink, whose aqueous touches bring an organic depth to the composition. The face seems to emerge from a neutral background, oscillating between presence and erasure.
The integration of textual fragments adds a narrative dimension to the work. The words interweave into the drawn flesh and suggest a dialogue between memory and form.
The balance of the composition rests on the contrast between the rigor of the line and the fluidity of the stains. The whole captures a moment of reflection, a form of anatomical deconstruction, while the fluid signature, placed in the lower right corner, closes the composition.
Work on paper presented under an off-white mat board in the standard 40 × 50 cm format, whose centered opening highlights the void and lightness of the composition.
Presentation
Aurélie Salvaing focuses on subtitling life. She thus draws portraits and attitudes in ink and ballpoint pen on backgrounds created from fragments of books and maps. She invites viewers to experience different depths. Each of her works seems to hold a secret door that opens onto poetic and sensitive interior landscapes.
Initially, she had fun sketching lawyers, for whom she was doing research, on books destined for destruction and which evoked their professions. The approach seemed promising to her, as words opened up new perspectives for drawings. Once she took flight, she maintained her attachment to texts and if her first works were elaborated solely on and by writings, she quickly emancipated herself and developed singular techniques by reinventing the palimpsest.
Her work presents itself as a visual exploration of remanence, this partial persistence of emotions, memories or impressions after their disappearance. The large formats exhibited embody this tension between evanescence and permanence, highlighting a very contemporary way of treating portraiture.
These works propose a plastic approach where figuration and abstraction meet. Faces, sometimes emerging or partially veiled, dialogue with textured materials, superpositions of layers, and fragments of writings. Each canvas translates the idea that certain traits or expressions, although ephemeral, continue to resonate and haunt our perception. This "contemporary writing"—understood here as a modern way of rewriting the portrait—anchors the subject in a temporality where traces of the past dialogue with the present.
Through their immersive power, these works invite the viewer to feel the impact of these visual and emotional resonances, while questioning how memory and emotion persist beyond the visible. They are visual journals where words, fragments of sentences or evanescent glyphs appear, almost by chance. These inscriptions, sometimes erased or partially visible, testify to the interaction between the conscious and the unconscious.
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