Impact - abstrait acrylique oxydation sur lin, 2021
Painting : acrylic, marble, resin · 100 x 100 x 4 cm 39.4 x 39.4 x 1.6 inch
$6,514
6 514 $US
Delivered in time for Christmas
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Shipped from: France
Delivery to: United States , $ 392
Estimated delivery: One to two weeks
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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 4 cm 39.4 x 39.4 x 1.6 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
Acrylic, marble powder, bronze-iron oxidation on linen
Fine rusty, almost metallic lines run diagonally across a white, powdery surface, intersecting in places like the fault lines of a cracked wall.
Impact draws its visual vocabulary directly from its title: in it, I explore the impact of the elements on urban structures and organisations.
The choice of bronze and iron oxidation as a material is therefore no technical accident: it is a way of letting real time act on the canvas, of allowing the material itself to change as a façade exposed to the weather would. I set out to give thickness to the texture that coats and engulfs — which clearly expresses the tension of the painting, between the heavy, powdery matter of the pale background and the rigidity of the lines running through it.
These orange intersections, which call to mind girders, fractures or roots in turn, give Impact an almost documentary dimension: that of a surface that keeps the memory of the shocks it has endured, without entirely collapsing.
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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