Partie de pêche à la peinture, 2022
Painting : oil · 130 x 190 x 5 cm 51.2 x 74.8 x 2 inch · Ready to hang
$11,134
11 134 $US
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Shipped from: France
Delivery to: United States , $ 1,014
Estimated delivery: Two to three 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, not framed, ready to hang
with stretcher frame
Authenticity
Sold with certificate of Authenticity from the gallery
Invoice from the gallery
Signature
Hand-signed by artist
Dimensions ( cm • inch )
130 x 190 x 5 cm 51.2 x 74.8 x 2 inch Height x Width x Depth
Sold by
Art gallery
Credentials
Vetted seller since 2013
Discount
This seller offers discount when you purchase multiple artworks.
Description
Signed on the back by the artist.
"Painting is descending into oneself"
“When you come to an exhibition, you expect to discover novelties and to see where the progress of the artist is.
This time for my exhibition at the Galerie Claire Corcia, there is no contemporary novelty, no assertive one-upmanship, no confirmation of belief, no certainty or coherence, no theory.
Because the surface of the lake is full of dead leaves, there is a deep water plunge.
Today I present a work of deconstruction that I carried out to return to the essence of my anima in creation, to extract it, and to see where it took me in painting.
Exposing my shortcomings, my contradictions, my attempts, my mistakes, to share what we can learn from being put in danger, this is what I propose in this exhibition where those who have known my work since my beginnings do not s will not find there.
In my process, I stopped my paintings when I no longer understood them. I wanted to paint the unknown in the strongest sense. By focusing on this misunderstood, I believe that I am getting closer to myself. There is no longer an accumulation of references, nor "looking for Charlie", nor even a demonstration of know-how or pareidolia. There is no longer any desire for progress or consistency.
Clearly I am showing difficulties. This is also a form of ethical requirement. It may be naive, but I also see a form of re-enchantment in it.
Ask yourself why we keep imprinted in our memory memories of meadows, rivers, seaweed, depths.
To paint, for me, is more than ever going down into oneself, because the surface of the lake is full of dead leaves and so you have to dive deep, where the imagination is no longer condemned by ridiculous torments. , even if it is at the risk of encountering a neutrality that could well make one think of nothingness.
In my paintings, one can believe that I repeat genres of landscapes with variations. It's the case. Everything remains to be done and everything will always remain to be done. It is a way of opposing the idea of a total theory in painting which is often satisfactory today. That such a fantasy can arise in people's minds says a lot about our time.
Any new artistic proposal is inevitably a mistake. So obviously I'm wrong, but I'm surprised that it can surprise.
To paint is to accept being wrong. In a positive version, it is knowing that what you think you will find one day will be replaced the next day. I agree with this neat idea. Besides, tomorrow we will see a new exhibition. I like anomalies and I hope my paintings are. The anomalies that we prefer are always those whose explanation we would like to know first.
Louis Paul Ordonneau
"Painting is descending into oneself"
“When you come to an exhibition, you expect to discover novelties and to see where the progress of the artist is.
This time for my exhibition at the Galerie Claire Corcia, there is no contemporary novelty, no assertive one-upmanship, no confirmation of belief, no certainty or coherence, no theory.
Because the surface of the lake is full of dead leaves, there is a deep water plunge.
Today I present a work of deconstruction that I carried out to return to the essence of my anima in creation, to extract it, and to see where it took me in painting.
Exposing my shortcomings, my contradictions, my attempts, my mistakes, to share what we can learn from being put in danger, this is what I propose in this exhibition where those who have known my work since my beginnings do not s will not find there.
In my process, I stopped my paintings when I no longer understood them. I wanted to paint the unknown in the strongest sense. By focusing on this misunderstood, I believe that I am getting closer to myself. There is no longer an accumulation of references, nor "looking for Charlie", nor even a demonstration of know-how or pareidolia. There is no longer any desire for progress or consistency.
Clearly I am showing difficulties. This is also a form of ethical requirement. It may be naive, but I also see a form of re-enchantment in it.
Ask yourself why we keep imprinted in our memory memories of meadows, rivers, seaweed, depths.
To paint, for me, is more than ever going down into oneself, because the surface of the lake is full of dead leaves and so you have to dive deep, where the imagination is no longer condemned by ridiculous torments. , even if it is at the risk of encountering a neutrality that could well make one think of nothingness.
In my paintings, one can believe that I repeat genres of landscapes with variations. It's the case. Everything remains to be done and everything will always remain to be done. It is a way of opposing the idea of a total theory in painting which is often satisfactory today. That such a fantasy can arise in people's minds says a lot about our time.
Any new artistic proposal is inevitably a mistake. So obviously I'm wrong, but I'm surprised that it can surprise.
To paint is to accept being wrong. In a positive version, it is knowing that what you think you will find one day will be replaced the next day. I agree with this neat idea. Besides, tomorrow we will see a new exhibition. I like anomalies and I hope my paintings are. The anomalies that we prefer are always those whose explanation we would like to know first.
Louis Paul Ordonneau
Presentation
Born in 1975, lives and works in Paris. In 1999, I set up my workshop in temporary and alternative places in the capital.
From that time on, the exploration of color has been at the heart of my work. During one of my very first exhibitions, a visitor comments: "Too many colors in your paintings".
I choose to assume this excess and make the exuberance of the chroma a line of conduct, my path to freedom. In my artistic research, figuration is eclipsed in favor of a dense abstraction which does not deny reality but throws on it the singular perspective of a gaze fascinated by colors: the gaze of a painter who persists somewhat. or the medium.
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