"Nostalgie" abstrait acrylique collage oxydation sur lin 120x120cm 2020, 2020
Painting : acrylic · 120 x 120 x 3 cm 47.2 x 47.2 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 )
120 x 120 x 3 cm 47.2 x 47.2 x 1.2 inch Height x Width x Depth
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Art gallery
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Vetted seller since 2015 • Top Seller
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This seller offers discount when you purchase multiple artworks.
Description
"Nostalgia" abstract acrylic collage oxidation on linen 120x120cm
Nostalgia wraps a large square in pastel tones — cream, bluish grey, faded gold, a few touches of coral. A cloudy mass occupies the centre of the canvas, as if suspended, where the marble powder carves a delicate relief that gradually fades towards the edges; the lower third, almost empty, lets a smooth, silent off-white breathe. This economy of material and this muted palette give the whole a downy softness, that of a memory fading without ever truly disappearing.
Nostalgia opens on a hushed evocation: evanescent memories, softened colours, the breath of passing time... This choice also answers a need for rhythm in my work: the need to enter a pastel-coloured atmosphere, the necessity of changing register between two paintings, like the alternating rhythm of breathing.
Yet the title does not refer to a personal feeling of nostalgia, but to a precise atmosphere linked to childhood: curiously, I am not nostalgic at all, but it is an atmosphere and a refinement of colours that surrounded my godmother, the elderly ladies of my childhood.
Finally, I express a simple wish for whoever looks at this large square format: I hope this painting brings gentleness, refinement, tenderness and elegance...
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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