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Et les oiseaux, 2026
Aurélie Salvaing

Name: Et les oiseaux
Brand: Aurélie Salvaing
SKU: 2414598
Price: 1600 EUR
Availability: InStock

Painting : ink, ballpoint pen, gold leaf, collage

60 x 60 x 3 cm 23.6 x 23.6 x 1.2 inch

€1,600

Secure delivery : France + €46

Shipping : Less than one week

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About the artwork

Type

Unique artwork

Signature

Hand-signed by artist

Authenticity

Sold with certificate of Authenticity from the artist

Invoice from the gallery

Medium

Painting: ink, ballpoint pen, gold leaf, collage

Dimensions cm • inch

60 x 60 x 3 cm 23.6 x 23.6 x 1.2 inch Height x Width x Depth

Support

Painting on canvas on stretcher

Framing

Not framed

Children

Birds

Faces

Beige

Grey

Artwork sold in perfect condition

Artwork location: France

This square work is an exploration of memory and fragility. At the center of the composition emerges a melancholic portrait, rendered with a hazy softness. The gaze, turned upwards and outwards from the frame, seems frozen in an expression of searching or remembering.

On the left, the silhouette of a bird in flight provides a dynamic counterpoint to the still face. The handwritten text at the bottom of the work, "AND THE BIRDS," anchors the subject in a narrative dimension, almost like the fragment of a forgotten poem.

The piece's originality lies in its layering: The Background: A complex collage of newspaper clippings and printed texts creates a textured, historical framework. The writing shows through the pigments, suggesting the noise of the world or the passage of time.

The Line: The mixture of ballpoint pen (bic) and ink allows a contrast between the surgical fineness of the details (around the eyes, mouth and bird) and more diffuse, almost organic areas of shadow.

Atmosphere: The color palette is deliberately understated, playing on sepia, grey and ochre tones, which gives the whole a timeless look, close to an old manuscript or a waking dream.

The work "And the Birds" is part of a research project on the sedimentation of time and the persistence of memory. Through the use of mixed media—combining the surgical precision of the ballpoint pen with the fluidity of ink—I sought to capture that fleeting moment when a thought escapes, symbolized here by the flight of a bird.

The choice of newspaper collage as a medium is not insignificant: it represents the tumult of the world, the saturation of information, and the immediacy of daily life. By covering these texts with portraits and animal figures, I create a dialogue between the collective clamor (the printed text) and intimate silence (the drawing).

The face, with its hazy features and gaze turned towards the distant, seems to emerge from a fog of memory. The words "AND THE BIRDS," jotted down on the canvas like an unfinished line of poetry, act as a narrative trigger. They invite the viewer to complete the story: is this the beginning of a flight, or the vestige of a lost freedom?

This painting is an invitation to pause, a tribute to the fragility of our inner landscapes in the face of the density of reality.

About the seller

Art Conseil Invest • France

Vetted Seller

Collector’s Guide

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Aurélie Salvaing

France • 1971

Presentation

Aurélie Salvaing focuses on subtitling life. She thus draws portraits and attitudes in ink and ballpoint pen on backgrounds created from fragments of books and maps. She invites viewers to experience different depths. Each of her works seems to hold a secret door that opens onto poetic and sensitive interior landscapes.

Initially, she had fun sketching lawyers, for whom she was doing research, on books destined for destruction and which evoked their professions. The approach seemed promising to her, as words opened up new perspectives for drawings. Once she took flight, she maintained her attachment to texts and if her first works were elaborated solely on and by writings, she quickly emancipated herself and developed singular techniques by reinventing the palimpsest.

Her work presents itself as a visual exploration of remanence, this partial persistence of emotions, memories or impressions after their disappearance. The large formats exhibited embody this tension between evanescence and permanence, highlighting a very contemporary way of treating portraiture.

These works propose a plastic approach where figuration and abstraction meet. Faces, sometimes emerging or partially veiled, dialogue with textured materials, superpositions of layers, and fragments of writings. Each canvas translates the idea that certain traits or expressions, although ephemeral, continue to resonate and haunt our perception. This "contemporary writing"—understood here as a modern way of rewriting the portrait—anchors the subject in a temporality where traces of the past dialogue with the present.

Through their immersive power, these works invite the viewer to feel the impact of these visual and emotional resonances, while questioning how memory and emotion persist beyond the visible. They are visual journals where words, fragments of sentences or evanescent glyphs appear, almost by chance. These inscriptions, sometimes erased or partially visible, testify to the interaction between the conscious and the unconscious.

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