Empreintes, 2025
Painting : oil, Knife Painting · 60 x 60 x 2 cm 23.6 x 23.6 x 0.8 inch · Ready to hang
$3,508
3 508 $US
Delivered in time for Christmas
Shipping & delivery
Shipped from: France
Delivery to: United States , $ 316
Estimated delivery: Four to five weeks
Free returns within 14 days, full refund
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Sold with certificate of Authenticity from the artist
Invoice from the artist Learn more
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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
with stretcher frame
Authenticity
Sold with certificate of Authenticity from the artist
Invoice from the artist
Signature
Hand-signed by artist
Technique & Support
oil , Knife Painting on canvas
Dimensions ( cm • inch )
60 x 60 x 2 cm 23.6 x 23.6 x 0.8 inch Height x Width x Depth
Artwork dimensions including frame
67 x 67 x 3.5 cm 26.4 x 26.4 x 1.4 inch
Sold by
Independent artist
Credentials
Vetted seller since 2022 • Top Seller
Description
With, Sophie Dumont offers a poignant reflection on collective memory and the persistence of books in human history. This abstract composition, developed from mixed techniques combining painting, collage, and tearing, transcends simple visual representation to become an artistic manifesto on the need to preserve intellectual heritage.
The creative process, where the fabric is glued, painted, and then torn off to leave only its imprint, gives the work a striking materiality. Each trace, both delicate and fragmentary, evokes the gradual disappearance of physical objects, while affirming their residual existence through their imprints. This process symbolizes the fragility of books as material objects, but also their capacity to lastingly impregnate history and collective thought.
The dominance of blues, ranging from light and ethereal shades to deep and intense tones, creates a contemplative and timeless atmosphere. These blues, associated with reflection and spirituality, reinforce the idea of an immaterial transmission of knowledge. The beige and off-white background, soft and neutral, acts as a silent support, recalling the neutrality of the paper on which the stories are written.
The organization of the canvas in irregular blocks, evoking aligned or stacked books, gives a visual rhythm to the work. Each print, although distinct, seems to dialogue with the others, forming an abstract library where each element carries a unique voice. The absence of figurative details leaves a lot of room for interpretation, inviting the viewer to project their own memories and readings.
Goes beyond simple aesthetics to become a reflection on cultural transmission and memory. By partially erasing the books to keep only their imprint, the artist evokes the fragility of human memory and the need to preserve knowledge for future generations. This work reminds us that books, although ephemeral as physical objects, leave an indelible mark on history.
Presentation
Born in 1964 in Suresnes, near Paris, Sophie Dumont lives and works in Langrune-sur-Mer, in Normandy. Self-taught, she began to paint in 1991 and develops research focused on matter, color, and the construction of space.
Her work unfolds in several series: libraries, abstract landscapes, studios, and geometric compositions gathered under the title Interior Architectures. These ensembles explore the relationships between memory, structure, and human presence. Books become rhythms and volumes; landscapes transform into expanses of color; studios retain the signs of activity and passage. In her geometric compositions, curves and rectangles organize a space where forms can evoke an architecture, an instrument, or a silhouette without fixing themselves in a single representation.
Sophie Dumont works mainly with oil on canvas, palette knife, and brush. The painting is built slowly, through successive layers, superimpositions, scrapes, and erasures. Earlier states remain perceptible and contribute to the depth of the work. The geometry of the compositions thus dialogues with a surface marked by gesture and time.
From one series to the next, her approach maintains this same tension between construction and matter, between what appears and what remains hidden. Her works are shown in France and internationally and are featured in private collections around the world.
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