La veillée, 2024
Chloé Kelly Miller   Emerging artists

Painting : mixed media · 101 x 36 x 5 cm 39.8 x 14.2 x 2 inch · Ready to hang

CHF 2,099 2 099 CHF

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Shipped from: France

Delivery to: Switzerland , CHF 95

Estimated delivery: Less than one week

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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, framed, ready to hang

Authenticity

Sold with certificate of Authenticity from the gallery

Invoice from the gallery

Signature

Hand-signed by artist

Technique & Support

Dimensions ( cm • inch )

101 x 36 x 5 cm 39.8 x 14.2 x 2 inch Height x Width x Depth

Artwork dimensions including frame

102 x 37 x 6 cm 40.2 x 14.6 x 2.4 inch

Sold by

Art gallery

Professional art gallery • France

Credentials

Vetted seller since 2024

Description

This captivating work consists of three separate canvases superimposed vertically, forming a harmonious and intriguing composition.

At the top, a flower painted in pale pink with a touch of white stands out against a brown background, evoking refined simplicity.

The middle panel radiates energy with its bright yellow floral patterns on a cream background, creating a vibrant contrast.

Below, a dark and mysterious, almost monochrome vase reveals subtly engraved flower silhouettes, adding a textured dimension to the whole.

Each section tells a different part of a visual story, skillfully connecting contrasting emotions.

The brown wood frames elegantly unite these pieces, accentuating their unity while celebrating their singularity.

This work challenges with its juxtaposition of styles and colors, captivating the viewer in a fascinating aesthetic dialogue.

France  • 1995
200 followers

Presentation

Born in 1995 in Rouen, Chloé Kelly Miller lives and works in Paris. His practice began in 2018, in parallel with his studies in psychology and oriented towards psychoanalysis. His work is part of often automatic mechanisms that promote the liberation and exploration of the unconscious.

Photographs, acrylics, graffiti, inks, oil pastels or drawings thus compose the different facets of the artist's work. The portrait occupies a preponderant place, and pursues by a spontaneous and eruptive work the revelation shared through the image, or the sensations latent to the experience of oneself and of otherness.

From icons of pop culture, to that of incomplete or bruised personal stories, the artist takes up questions of identity and representation by re-evaluating through a work of interaction with the subject, the very mode of appearance of his being. .

In many cases, the space of the canvas is envisaged as a support for the staging of the body and the pose of color, which participate in a sublimation of affects. The diversity of mediums favors the expression of a spontaneous, instinctual gesture intended to question the gesture to the detriment of what governs the human being: language.

Attentive to the personal trajectories of artists like Dali, Basquiat, Ernest Pignon-Ernest, Keith Haring, Patti Smith or Mapplethorpe, Chloé Kelly Miller revisits an artistic pantheon whose technique she suspends and constantly re-examines the heritage.

Neo-expressionism is one of the most enriching artistic movements for the artist. Archaism shakes up and questions what is most primary, most profound. It is in the wake of these artists that Chloé Kelly Miller in turn tries to capture the elusive, an obscure and nebulous reality, a clean and personal truth.

A Clinical Psychologist graduate in 2019, Chloé Kelly Miller continues her studies in Research with a view to preparing a thesis until June 2020. At the same time, the artist continues to invest all of her work by integrating new galleries in on an international scale, by participating in personal and group exhibitions, but also by collaborating on various projects with designers, restorers, sculptors and textile creators.

From Bangkok to Paris, via Casablanca, Toulouse, Rouen or even Perros-Guirec, the work of Chloé Kelly Miller extends and questions beyond borders and language .

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