Le détachement, 2024
Painting : acrylic · 80 x 160 x 5 cm 31.5 x 63 x 2 inch
$9,292
9 292 $US
Delivered in time for Christmas
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Delivery to: United States , $ 583
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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
Authenticity
Sold with certificate of Authenticity from the artist
Invoice from the gallery
Signature
Hand-signed by artist
Dimensions ( cm • inch )
80 x 160 x 5 cm 31.5 x 63 x 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
Acrylic, marble powder, pigment and collage on linen, 80 × 160 cm.
On an elongated, almost panoramic format, a vast pale territory, soft green, cream, mist ,occupies nearly the whole canvas, while in the upper right corner a dense mass of very intense ultramarine blue, rust and green is concentrated, like a fragment of raw matter held apart. A more modest echo of this same intensity, scratched black, red, indigo, reappears at the bottom left, linked to the rest by a powdery trace that crosses the canvas diagonally.
Painted in February 2024, Detachment bears the very name of what I was trying to grant myself that winter: at the start of 2024, it became necessary to keep a cool head, to step back in order to remain positive and confident in humanity, in response to the news I was listening to. Detachment is not indifference but the ability not to be a slave to one’s emotions, to know how to hold them at a distance so as to preserve sound judgement, temperance, elegance — what Thomas Schlesser, in , calls “Grace”.
This grace is not an absence of turmoil: it dwells precisely in the relationship between the calm of the pale expanse and the tormented matter that remains, contained, never denied. Detachment erases nothing — it gives emotion its rightful place, at a distance, without letting it overrun the whole painting.
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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