Mur frontière, 2024
Painting : steel, acrylic, marble, collage · 60 x 120 x 5 cm 23.6 x 47.2 x 2 inch
$7,935
7 935 $US
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Shipped from: France
Delivery to: United States , $ 357
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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 )
60 x 120 x 5 cm 23.6 x 47.2 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
With this format twice as wide as it is high, I shift register. After a shocking image of the wall in Arizona, I felt an urgent need to transpose it metaphorically. This wall is not painted in trompe-l’œil: real iron oxidation, mixed with acrylic and marble powder, gives the vertical band crossing the canvas all the roughness, rust and wire mesh of an actual barrier. A truncated fragment of the same mesh reappears, isolated, at the far right of the frame — as if the wall continued elsewhere, out of view.
To the left of this border, small collaged fragments — red, green, blue, ochre — scatter, each distinct in shape and colour. They are the individuals who still have their colours, their own identity.
To the right, this diversity fades away: only large, more uniform masses of ochre and grey-blue remain — the trail, the desert. Yet a sinuous white thread links the two halves without interruption, dotted with small dark points which, for me, read as a line of walkers: the same individuals, turned into anonymous ants in a vast world without empathy.
This gradual loss of colour, from left to right, carries on its own the meaning I give the canvas: all of this is linked to the lack of respect for others. Populist proposals make my heart sink. Border Wall does not pin down a place, but the moment when crossing a line drawn by others is enough to stop being seen as an individual.
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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