Resonance, 2021
Painting : acrylic · 120 x 100 x 4 cm 47.2 x 39.4 x 1.6 inch
€3,200
3 200 €
Delivered in time for Christmas
One of the last works available by this artist
Shipping & delivery
Shipped from: Belgium
Delivery to: Germany , € 290
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, not framed
Unstretched (shipped rolled)
Authenticity
Sold with certificate of Authenticity from the artist
Invoice from the gallery
Signature
Hand-signed by artist
Dimensions ( cm • inch )
120 x 100 x 4 cm 47.2 x 39.4 x 1.6 inch Height x Width x Depth
Sold by
Art gallery
Credentials
Vetted seller since 2023 • Top Seller
Description
Red, the color of fire and blood, however has the same symbolic ambivalence as the latter, no doubt, visually speaking, depending on whether it is bright or dark. The bright red, diurnal, solar, centrifugal incites him to action; he is the image of ardor and beauty, of impulsive and generous strength, of youth, of health, of wealth and of a free and triumphant Eros. Dark red, on the contrary, is nocturnal, female, secret and bordering on centripetal; it represents not the expression, but the mystery of life. The paintings of Eric Pasture bring us some elements of answer to this nagging question which remains as open as that of humanity: how to capture the colors of the world in a universal construction? Apparently, the real is full of colors, but the colors, in reality, do not exist. The ones we see depend on the light that the outside world directs towards our eyes, but ideas of "red" are born only in the depths of our brain. The colors are therefore not only the "exploits of light" as Goethe said: They are also the exploits of me. We use ourselves to adorn the world and we do it for us. In Eric Pasture's approach to materialist abstraction, his physical taste, almost artisanal for a material, is measured, a smooth paste spread, combed, smoothed, made silky like a tunic, or crushed, channeled, spread by the spatula which constrains it, bringing it back in flat areas, giving way to wet lips or delicate hems. Red, the color of fire and blood, however, has the same symbolic ambivalence as the latter, no doubt, visually speaking, depending on whether it is bright or dark. With this one major color, rich in all the others, the artist leads and tells his world, made up of momentum and restraint, shadows and clarity, impulses and rest. When the external light is flush with these fields of painting, it diffuses into infinite shades that never tire of our gaze.
Presentation
• Born in 1958 in Mons, Belgium.
1987- present: Professor of graphic design advertising at Haute Ecole
1986 - 1987: Assistant Royal Academy of Fine Arts - Brussels
Graphic Arts and Advertising Communication Workshop
1979 - 1980: Drawing workshop at the Academy of St Josse-Ten-Noode
1979 - 1983: Graphic design workshop at the Royal Academy of Fine Arts in Brussels
(Fine Arts graduate with Great Distinction)
• Awards & Prizes:
1983: 1st prize for professionals from the advertising agency Young & Rubicam, Belgium
1985: 19th triennial winner of young artists from Hainaut, Belgium
2000: Public Prize of Lion's Club of Philippeville, Belgium
• Exhibitions:
Art Yī is the exclusive gallery of Eric Pasture in Brussels.
• In Eric Pasture's approach to materialist abstraction, his physical taste, almost artisanal for a material, is measured, a smooth paste spread, combed, smoothed, made silky like a tunic, or crushed, channeled, spread by the spatula which constrains it, bringing it back in flat areas, giving way to wet lips or delicate hems. Red, the color of fire and blood, however, has the same symbolic ambivalence as the latter, no doubt, visually speaking, depending on whether it is bright or dark. With this one major color, rich in all the others, the artist leads and tells his world, made up of momentum and restraint, shadows and clarity, impulses and rest. When the external light is flush with these fields of painting, it diffuses into infinite shades that never tire of our gaze.
• Eric Pasture's canvases provide us with some answers to this nagging question which remains as open as that of humanity: how to capture the colors of the world in a universal construction? In appearance, the real is full of colors, but the colors, in reality, do not exist. The ones we see depend on the light that the outside world directs towards our eyes, but the ideas of "red" are born only in the depths of our brain. The colors are therefore not only the "exploits of light" as Goethe said: They are also the exploits of me. We use ourselves to adorn the world and we do it for us.
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