Brouhaha, 2025
Painting : acrylic, collage, mixed media · 80 x 80 x 3 cm 31.5 x 31.5 x 1.2 inch
€3,600
3 600 €
Delivered in time for Christmas
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Shipped from: France
Delivery to: Germany , € 107
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About the artwork
Type
Painting : Unique artwork
Condition
Artwork sold in perfect condition, not framed
Authenticity
Invoice from the gallery
Signature
Hand-signed by artist
Technique & Support
acrylic , collage , mixed media on Linen
Dimensions ( cm • inch )
80 x 80 x 3 cm 31.5 x 31.5 x 1.2 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
acrylic, marble powder, collage, copper leaf on linen, 80 x 80 cm
I started this painting after watching a report on the National Assembly, struck by a cacophony in which egos rub shoulders, each claiming its own truth. This feeling of a weakened social bond, where attention to others and courtesy give way to narcissism and the absence of dialogue, finds its visual translation here.
The composition turns in a kind of disorderly round: a multitude of newspaper fragments, cut out and collaged, mingle with painted forms in bright colours — saffron yellow, slate blue, vermilion red, earthy brown — each one isolated, each occupying its own space without merging into the others. Nothing really answers anything else, everything coexists, like so many voices speaking at once without listening to one another. The snippets of printed text, barely legible, evoke a breakdown in the good health of the social bond, amplified, for me, by the impact of the media and social networks.
And yet the canvas never tips into bitter denunciation; my joie de vivre has punctuated all of this with harmonious colours.
A way of responding to chaos with vitality rather than despair.
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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