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Sylvia Elharar-Lemberg Traverses, 2007

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$USD 1,893

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About the seller

Professional art gallery

Paris, France

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Sylvia Elharar-Lemberg, Traverses
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About the work
  • Medium

    Fine Art Drawings : ink

  • Dimensions cm | inch

    24.8 x 19.3 x 0.4 inch

  • Support

    Fine Art Drawings on cardboard

  • Framing

    Brown wood frame with glass

  • Artwork dimensions including frame

    32.7 x 24.4 x 2 inch

  • Type

    Unique work

  • Authenticity

    Work sold with an invoice from the gallery
    and a certificate of authenticity

  • Signature

    Hand-signed by artist

  • About the artwork

    Artwork sold in perfect condition

    Drawing, ink and collage made on cardboard around the theme of the railway.
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Origin: France
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Sylvia Elharar-Lemberg

France Born in: 1950

Visual artist, former student of the Beaux Arts of Paris, certified teacher of Plastic Arts, I have had since the mid-70s many exhibitions both nationally and internationally. My works have been acquired by many collectors and museums.

My preoccupation, both pictorial and sculptural, is not, at the origin, to go beyond the limits of the frame, nor even to lock myself into it. My real objective, following the example of Master Hokusai, is to "draw a line to signify life", and death and the eternal restarting of this interrogative in-between space where we dwell. Beyond this idea, and in the plastic denouement of this objective, is the book, privileged witness of thought, memory of the world, which is part of my work.

The original composition of the book leads me to consider my painted canvases marouflaged with paper and my works on paper and my lithographs, as the pages of a biographical book that I would have started to write with a brush and which continues, giving them a freedom that a stretcher or a frame cannot come to annihilate. My canvases thus become... free at last... without limits, resembling the leaves of a book. Beyond the technical use of paper inherent to my pictorial or sculptural work, there are constants that are related to the book theme. Thus, the scriptural graphic elements, and the tetragrammic symbol that I repeat endlessly. Thus, the tetragrammic grid composed of squares that structures the painted canvases or wall sculptures, in which are inscribed scriptural patterns that also belong to the logogram and the tetragram, these grids are not limited or closed by a vertical, which invites us to imagine them continuing to infinity. This "mise en abîme" refers us to the multiplicity of lines of writing and to the book.

- Sylvia Elharar-Lemberg

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Sylvia Elharar-Lemberg, Traverses
Sylvia Elharar-Lemberg, Traverses Sylvia Elharar-Lemberg, Traverses