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Adéle du Plessis Sketch of a Tree in a Jam Jar, 2020

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The artwork is available for pickup from the gallery in Voorschoten, Netherlands


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About the seller
Gallery Sorelle Sciarone

Voorschoten, Netherlands

Artsper seller since 2019
10 orders finalized
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Adéle du Plessis, Sketch of a Tree in a Jam Jar
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About the work
  • Medium

    Painting : acrylic, coffee

  • Dimensions cm | inch

    19.7 x 15.7 x 0.8 inch

  • Support

    Painting on canvas on stretcher

  • Framing

    Not framed

  • 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

    A Sketch of a Tree in a Jam Jar is a contemporary painting by Adéle du Plessis, that is part of her new series Drawn at Home.

    During the Dutch Lockdown in March 2020, contemporary South African artist Adéle du Plessis sketched everyday objects in her home.
    From these sketched Adéle painted a series of still-lifes or botanical pieces.
    Tree in a Jam Jar is a sketch of one of the saplings her daughter had been cultivating their home in an old Bon Mama jam jar.
    Adéle sketched the leaves, and a jam jar, specifically t0 that captured how the light reflects off the grooved jam jar and the shadow of the sapling fall on the table. She then later painted the sketch. She was explicitly focusing on recreating a sketch in a painting. Thus not painting the actual sapling and jam jar.

    Why this distinction? Plato argued that art has no value in an ideal society. Art was too far removed from the logical ideal. He explained that the first degree of anything is the idea of something like a chair. Once you conceptualised what that chair looked like it was removed one degree from the ideal chair. Once artisans made the chair, it was further removed from the perfect chair. If an artist painted this chair, the painting made of this chair would be a pale imitation so far removed from the ideal chair, that it was useless even to do such a thing. Adéle takes it one step further and paints what the sketch looks like—combining natural elements, such as cuttings and saplings, with human-made objects in her drawings—then repainting the drawings. It is part critique, part poking fun at the role art takes in our current society. The pandemic has shown us, that movies, art, and a whole lot of other creative recreation of reality has kept us going.

    The painting is painted in pastel blues and greens on top of a heavily texturised background. Adéle often first paints a layer of white paint mixed with her used coffee grinds to create a textured background. She then paints layer on the layer the painting, when the painting is done, Adele uses a sand grinder to grind down the painting to expose the layers of paint and coffee underneath. This idea of exposing the material that makes a painting is part of the Spatialism movement. Lucio Fontana, the creator of the movement, slashed his canvases, to reveal the back of the canvas. Adéle builds on this Spatialism notion of making the viewer aware of the materiality of the painting.

    Her technique is grounded in an Impressionist brushstroke, a Spatialist awareness of the material used to create the painting and lastly, the subject of the painting is influenced by Plato. She is actively painting to reflect the way a sketch is, Not the actual tree in the jam jar itself.
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Origin: Netherlands
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Adéle du Plessis

South Africa Born in: 1969

Adéle du Plessis

The Artist Sheet of Adéle du Plessis. Let us get to meet the lady behind the art.


Who is she artistically?

She is a Painter and sculptor, or wherever the creative process takes her. Found Cities 2017 is a good example of an intersection of her different creative talents.


What is her style?

Broad brush strokes with a lot of texture. Colourful, interplay between pastels and saturated primary colours. Dreamer 2018 is a great example of her use of pastels and Museum Café Groningen 2017 a great example of her use of saturated colours and broad brush strokes.


Why is her style special?

Her work is easy to look at, explores art history through your own technique as well as researching small details of life that are distilled pieces of a greater emotion or life. The style is also familiar to many and painted in the style of Expressionist and Impressionist from the 20th century.


Museum Café Groningen 2017 combines her own life as an artist, an art lover, Art History, art institutions and the art community in one picture. She has a beautiful way of creating meta view of the world and art in small moments captured in painting.


What are your qualifications as an artist?

Studied Art at the University of Pretoria in South Africa, been making art for more than 30 years. Will paint anything from walls, to tables, to body casts to floors. The painting process is always ongoing.


Du Plessis is inspired by the world she lives in and her technique reflecting what she has absorbed. An example hereof is her Stained Glass piece which she created after her trip to Reims, France.



What does your art mean to you?

Art allows for small fragments of yourself that does not conjunct with society and it needs a voice, art gives it a language. Creating art settles mind and spirit. Finally the unsaid is given a voice.


In 2012, Du Plessis did an exercise in loosening creative energy and in retrospect also tapping into the subconscious. Her Unnamed painting was the culmination of a process of hundreds of art work on paper. It was a constant process with varying results on stack and stacks of roughly A3 paper and finally this painting.

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Adéle du Plessis, Sketch of a Tree in a Jam Jar
Adéle du Plessis, Sketch of a Tree in a Jam Jar Adéle du Plessis, Sketch of a Tree in a Jam Jar Adéle du Plessis, Sketch of a Tree in a Jam Jar Adéle du Plessis, Sketch of a Tree in a Jam Jar