"L'Air iodé de Roscoff" abstrait collage oxydation sur lin 100x80cm 2021, 2021
Painting : acrylic · 100 x 80 x 3 cm 39.4 x 31.5 x 1.2 inch
€3,300
3 300 €
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Delivery to: Italy , € 99
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About the artwork
Type
Painting : 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
Dimensions ( cm • inch )
100 x 80 x 3 cm 39.4 x 31.5 x 1.2 inch Height x Width x Depth
Sold by
Art gallery
Credentials
Vetted seller since 2015 • Top Seller
Discount
This seller offers discount when you purchase multiple artworks.
Description
Blue, white and grey answer one another across the entire surface of the canvas, creating an atmosphere in which one senses, without it ever being clearly depicted, a coastline lashed by sea spray. A lattice pattern in the lower part of the painting evokes stacked oyster shells, while the top of the composition dissolves into an almost immaterial sky.
The idea came to me during the lockdown and Covid period, when I was lucky enough to breathe a beneficial, bracing, salt-laden and refreshing air on the coast around Roscoff. Rather than painting a recognisable landscape, I chose to capture the very essence of the air, without resorting to figuration.
The need for structure led me towards a particular kind of relief: I felt the need to incorporate structure, evoking for me the mineral world and oyster shells, a choice I describe as ideal for structuring this painting, because this is a structuring, dynamic and invigorating air. Each shade of blue, white and grey was thus carefully chosen to reflect the clarity of this very particular coastal air.
Presentation
The Breton light as a loom
There are artistic lives that are built in a straight line, and then there is that of Emmanuelle Vroelant, made of bifurcations that, each time, have led her a little further. Born in 1952, she studied clinical psychology, then a 5-year trip, which leads her to Vanuatu and towards painting: on site, two decisive encounters reveal within her a vocation that will never leave her. She exhibits for the first time in 1978, on the other side of the world.
Back in Paris, she opens her first studio in 1981 and exhibits for four years in a row at the Salon d'Automne. Different exhibitions in Paris and the provinces will follow. The inauguration of a gallery in New York will lead her to China.
A period of illness then distances her from the canvas, and she becomes a psychoanalyst and Art-therapist for several years, a parenthesis that undoubtedly refines her view of creation.
The real second breath arrives in 2006, when she leaves Paris to settle in Brittany, in Roscoff. The light of the Finistère coast becomes her raw material, and she finds a creative intensity that will carry the rest of her work.
What strikes her is the frankness with which she embraces her influences without dissolving into them: Michelangelo, Vermeer, Kandinsky, Soulages. But it is Zao Wou-Ki whom she designates as her "true pictorial encounter," the one who showed her how silence and color could together inhabit the space of the canvas.
From this dialogue with the masters, a language of her own was born, "suggestive abstraction": large formats where the material — marble powder, mortar, collage, plant fibers — becomes the subject itself, carried by a demand for simplicity that is ever more radical. "Say more with less," as she likes to put it.
Today represented by the gallery Art and Heart and present on the major online art platforms, Emmanuelle Vroelant's works travel far beyond French borders: USA, Australia, Sweden, Switzerland, Germany, Greece, Italy, England, Saudi Arabia…
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