Histoire de règles et de cheveux, 2023
Sandrine Stoïanov  

Painting : oil · 70 x 50 x 2 cm 27.6 x 19.7 x 0.8 inch · Ready to hang

€2,800 2 800 €

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Shipped from: France

Delivery to: France , € 42

Estimated delivery: One to two weeks

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Verified Reviews : 9.6/10
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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

Dimensions ( cminch )

70 x 50 x 2 cm 27.6 x 19.7 x 0.8 inch Height x Width x Depth

Artwork dimensions including frame

74 x 54 x 2.5 cm 29.1 x 21.3 x 1 inch

Sold by

Credentials

Vetted seller since 2016 • Top Seller

Discount

This seller offers discount when you purchase multiple artworks.

Description

This work depicts a vibrant and intimate subway scene where a mother combs her daughter's hair. Their facial expressions, capturing an everyday moment, are rendered with emotional precision. The little girl, dressed in a star-patterned coat, holds a pink umbrella, contrasting with the drab décor of the train car. The dynamic brushstrokes and warm colors of the figures contrast with the cold, metallic complexion of the subway interior, emphasizing the family bond amidst the surrounding hustle and bustle. The blurred and distant figures in the background reinforce the focus on this intimate interaction. The artist succeeds in capturing a tension between movement and stillness, between the public sphere and the personal moment, thus offering a profound look at human interactions in shared spaces.

Sandrine Stoïanov, Histoire de règles et de cheveux
France  • 1973

Presentation

A former student of the Beaux-Arts d'Épinal and Reims, where she studied conceptual art, Sandrine Stoïanov trained in cartooning on the job after a spell at Gobelins l'école de l'image. She has co-directed two short animated films with writer-director Jean-Charles Finck that are very personal to her: Irinka & Sandrinka (2006) and Le Monde en Soi (2020), nominated for a César in 2022.

For the latter, the script demanded that she return to her first love of painting and tackle a technique she had never practised before: oil painting. It was a turning point. With the help of isolation and time in confinement, she very quickly found, over and above well-digested influences, her own touch, a personal gesture, her 'way'... which she has been expressing in her canvases ever since. So, almost incidentally, she became a painter. Like the character in her film (who already looked a lot like her). Life imitates art.Her artistic approach is to give faces to the cultural mix of urban society. To take the 'long time' required by the technique of oil painting and the patient observation of his contemporaries, to reveal what they simulate and what they mask, in the manner of a Degas, a Lautrec, or perhaps a Hopper, thus rediscovering the light of a social naturalism, but of today. Painting human beings caught up in the modernity of their attachments, their contradictions and aspirations, the weight of their daily lives, and thus creating portraits of people we are not used to seeing represented in this light, particularly women. Little by little, she built up her body of work.

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