Sangosho 2, 2023
Caroline de Boissieu  

Painting : acrylic, ink · 140 x 140 x 0.2 cm 55.1 x 55.1 x 0.1 inch

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Verified Reviews : 9.6/10
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 artist

Signature

Hand-signed by artist

Technique & Support

Dimensions ( cm • inch )

140 x 140 x 0.2 cm 55.1 x 55.1 x 0.1 inch Height x Width x Depth

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Credentials

Vetted seller since 2026

Description

There are works that are looked at, and others that are breathed.

This one belongs to the second family.

On the surface, the ink was not placed — it was left free. It ran, hesitated, bumped against invisible borders, then settled where chance and matter finally agreed.

What remains is neither entirely a drawing nor entirely a stain: it is a breath fixed in time.

One sees coral in it because the title says so. But one could just as well see a fire that does not burn, a sun that was picked before it rose, or the memory of a cloud. The form tells nothing precise — it tells the way something, even before knowing what it will be.

The translucent paper hides nothing of its support; it lets the light from the wall, from the staircase, from the passing day, mingle with that of the pigment. The work never exists twice in the same way — it darkens in the evening, flares up at noon, as if it continues, years after the gesture that created it, to live to the rhythm of the house that shelters it.

Suspended between two flights of stairs, without a frame, held by almost nothing, it seems to float — a star found on the way of a staircase, which chose to stop there.

Abstract

Abstract art

Yellow

Caroline de Boissieu, Sangosho 2
France  • 1958

Presentation

A graduate of the École Nationale Supérieure des Arts Décoratifs, Caroline de Boissieu has devoted herself fully to her art since 2000, following an earlier career as a stylist. Her work begins, often, with a photograph — and from that matrix emerges something far more elusive: translucent materials such as ink, acrylic, tracing layers, plexiglas, and glass dissolve the contours until what remains is suggested, fleeting, yet haunting.

Hers is a practice of the palimpsest, a patient layering in which every technique is summoned to give the work the fullness of its breath. Light lives at its very heart. Through subtle play of shadow and reflection, each piece seems to breathe, to shift with the angle and intensity of one's gaze — never quite the same twice. Drawing on water, air, and distant shorelines without ever naming them, she opens a dreamlike space, at once transparent and opaque, still and in motion, where the viewer is gently invited to project their own memory, their own emotion.

It is a poetry that reveals itself slowly. Naturally drawn toward ever more limpid supports, she also gives her paintings an architectural presence, collaborating with architects, glassmakers, and designers in France and abroad — each work composed to live alongside those who dwell with it.

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