Bronze Sculpture for Sale
La Loire tropicale, Mangrove 002, 2024
Painting : acrylic · 40 x 50 x 2 cm 15.7 x 19.7 x 0.8 inch · Ready to hang
$1,435
1 435 $US
Shipping & delivery
Shipped from: France
Delivery to: United States , $ 130
Estimated delivery: One to two weeks
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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, ready to hang
with stretcher frame
Authenticity
Sold with certificate of Authenticity from the artist
Invoice from the artist
Signature
Hand-signed by artist
Dimensions ( cm • inch )
40 x 50 x 2 cm 15.7 x 19.7 x 0.8 inch Height x Width x Depth
Sold by
Independent artist
Credentials
Vetted seller since 2023
Discount
This seller offers discount when you purchase multiple artworks.
Description
In "Tropical Loire, Prodrome 001," Patrick Santoni effects a radical shift in the landscape, both geographical and mental. At first glance, the composition unfolds in horizontal layers of color—saturated blues, acid greens, mineral pinks—establishing a slow, almost meditative rhythm. But this apparent serenity is deceptive. Beneath the surface, the work is permeated by a conceptual tension that transforms painting into a critical space.
Santoni here treats painting as a field of forces. The chromatic bands, of almost architectural precision, evoke both the tradition of landscape painting and its contemporary abstraction. The horizon, a classic motif in the history of Western art, is maintained but unstable: it slips, doubles, fragments. The mangrove—an ecosystem by definition hybrid and amphibious—becomes a pictorial metaphor. The stylized plant forms, with their threadlike roots, seem to float between immersion and emergence, as if the canvas were capturing a pivotal moment.
The feeling emanating from the work is deliberately ambiguous. A chromatic, almost hedonistic gentleness coexists with a muted unease. The Loire, an emblematic river of the French imagination, is here “tropicalized": not out of exoticism, but as a political projection. Santoni anticipates a world altered by climate change, where geographical and cultural landmarks are being redefined. The landscape is no longer a place of contemplation, but a symptom.
This series is part of a long history of landscape painting, while simultaneously turning it against itself. One can see echoes of post-pictorial abstractions, American color field painting, and also the mental landscapes of European modernism. Yet Santoni rejects any formal nostalgia. His painting is conceptual in its intention, political in its implications, and resolutely contemporary in its economy of means.
"The Tropical Loire, Prodrome 001" thus affirms painting as a critical tool, capable of articulating the sensory and the speculative. In Santoni's work, color is never decorative: it is an ideological element. The landscape becomes a territory of fiction, where, layer upon layer, the uncertain history of our present is written.
Presentation
Patrick Santoni lives and works in the Anjou region. His inspiration comes from what he perceives as the incoherence of the world in which he lives.
After studies from the Beaux-Arts, architecture section, he started his artistic work in the early 80s. Influenced by the thematic and graphic freedom of Street Art, La Figuration Libre and Figuration Narrative, he nevertheless claims a classical technical approach (glazing, sfumato, chiaroscuro), the latter allowing him to distance himself from his subjectivity and, beyond that, any possibility of affect. This figurative and technical handling aims at extracting a disturbing strangeness from the point of reversal of reality and to prompt a questioning of the spectator.
In the early 2000s, his "Ringed Birds" series inaugurated a pictorial form inspired by Pop Art. He captured the formalism of labels and posters and designed canvases that he organised like posters with provocative slogans. In 2010, he returns to his fundamentals: landscapes and architecture are the nodal elements through which he will henceforth question existence. The works in the "Horizons", "Piscines" and "Réparations" series have followed one another since then to the rhythm of writing the world and history, each one offering an aesthetic variation in the service of the subject.
From architecture, he draws conceptual methods and a plastic rigour that he applies to the composition of his works. From landscape, he makes his narrative material. But, grasping from the outset the challenge of multimedia, he uses images from all media, from television and photographic imagery to Google Maps, which he manipulates digitally before transcribing them onto the canvas. Exile, uprooting, abandonment, ruins, the invading maquis, the dust of summer, the legacy of his Corsican origins, punctuate his images.
His visuals, both simple and complex, present a universe whose aesthetic illusion only precipitates us into the oceanic abyss that our era writes.
The juxtaposition of sharp and blurred images, the concatenation of planes, the organisation of metonymic elements blur the logic of perception.
The frontier between real and reality becomes literal and brings into existence a universe on the border of uchronia, where hope collides with a dull world, ordered by the discipline of aesthetics from which meaning and reality escape.
His works reflect - almost as ananamorphosis - the noisy and uncertain silence of our time, but also the particular relationship of Man to the landscape.
The artist wishes to question his contemporaries about their paradoxes, their choices for the future.
Some of his works are part of numerous private collections in the United States and Europe. One of them, "Man behind the mask", has been part of the TAFM (Taipei Fine Arts Museum in Taiwan) since 2004.
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