"Didgeridoo" abstrait acrylique poudre de marbre sable châssis lin 100x100cm, 2017
Painting : acrylic · 100 x 100 x 3 cm 39.4 x 39.4 x 1.2 inch
$3,513
3 513 $US
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Shipped from: France
Delivery to: United States , $ 155
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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 100 x 3 cm 39.4 x 39.4 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
A warm light bathes the entire surface, made up of saffron yellows, ochres and oranges that intensify along the top edge and in the lower left-hand corner, where they take on a pink tinge. In the centre and towards the right, this warmth pales into a lighter zone of cream and greyish white, slightly veiled. Against this ground, dark marks are arranged in horizontal strata. Together they form a kind of vast open ring around the luminous centre. Laden with sand and marble powder, the surface is grainy and vibrant.
My son came back from Australia with a didgeridoo, which he would play… The instrument, a long wooden tube traditionally made from a eucalyptus trunk hollowed out by termites, produces a deep, continuous drone, which players sustain by means of circular breathing. It was this sound, more than the object, that set off the canvas: colours of the desert, of vibrations, the sound of the didgeridoo is unsettling, transporting.
I also hear in it a whole culture: the sound of this instrument evokes the Aboriginal people in these desert spaces, who always know where they are, having kept a traditional memory that is still alive. The strata of dark marks recall both the waves of a lingering sound and the lines of a landscape seen from high above: tracks, dry riverbeds, rocky outcrops.
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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