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Catherine Larré Sans Titre "Ouch", 2014

$143


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The artwork is available for pickup from the gallery in Paris, France


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Professional art gallery

Paris, France

Artsper seller since 2016
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Catherine Larré, Sans Titre
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About the work
  • Medium

    Photography : C-print

  • Dimensions cm | inch

    4.3 x 6.3 inch

  • Support

    Photography on Fujicolor Crystal Archive Paper

  • Framing

    White aluminium frame with glass

  • Artwork dimensions including frame

    4.7 x 7.1 inch

  • Type

    Numbered and limited to 3 copies
    1 remaining copy

  • Authenticity

    Work sold with an invoice from the gallery
    and a certificate of authenticity

  • Signature

    Signed artwork

  • About the artwork

    Artwork sold in perfect condition

    The work of the artist is placed for its part, under the flag of the photography, and represents a magnificent example of the one known as plastician. His knowledge and technical mastery of the medium endows his images with a sculptural aura, which frees them from the plane, giving them carnal consistency, tactile dimension until they make palpable the presence of what is not visible, the off-field.

    Silhouettes, faces in the half-light, veiled glances, the artist's images are each a delicate, subtle exploration of mental landscapes, where beings are like apparitions, fragile, lost in a dream.

    Sometimes a hair in the foreground evokes this particular state of consciousness, at the border of wakefulness and sleep, where, motionless, we helplessly attend the mysterious film of our dreams.

    Without doubt, the mystery in these photos is also due to this singular light that does not reveal things, but on the contrary, confuses them.

    During the day, it bursts in on these models to irradiate the bodies, dazzle the faces, veil the image.

    At night, the light is so dull that the looks struggle to emerge from the shadows from which they seem to be trapped.

    There is something of the order of the supernatural in this universe, yet here nothing threatening. We feel immersed in a particular slowness, melancholic which also reminds us of our childhood reveries where anxiety is mixed with a certain sweetness.

    The artist manages to plunge us back into these sensations, she leads us to take the time to feel the warmth of a sunbeam, to marvel at the dew that beads on a spider's web, we let ourselves be lulled by the caressing water, smelling with half-closed eyes a bouquet of iris. Time expands, suspended moments, in silence with a small perfume of eternity.
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Delivery
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Origin: France
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Catherine Larré

France Born in: 1964
Outlines of figures, faces in half-light, veiled glances, each of Catherine Larré’s pictures cmnstitutes a delicate, subtle exploration of mental landscapes, where characters are like apparitions, fragile, misled in a dream.

Sometimes a head of hair in the foreground calls to mind that special state of consciousness, at the edge between sleep and awakening, where, motionless and powerless, we see the mysterious film of our dreams.

Doubtless in these photographs the mystery is also due to a strange light, that does not reveal objects, but rather shrouds them in mist. In the daytime, that light floods models, irradiates bodies, dazzles faces, veils images.

At night, it is so muted that light rays hardly emerge from the shadow of which they seem to be prisoners.

There is something in the order of the supernatural in that universe, but nothing threatening. One feels sunken into a special, melancholic slowness that also recalls childhood rêverie, where anxiety is mixed with gentleness.

Catherine Larré succeeds in taking us back into that type of sensations, she induces us to take the time to feel the heat of a sun ray, to marvel at dew drops on a spider’s web. Let that caressing water rock you, while inhaling an iris bouquet, eyes half-shut.

Time expands, instants are suspended in silence, with a tiny perfume of eternity.

- Olivier Panchot


Don’t be seduced by the softness of the pictures, rather look at the improbable shadows along the edges of the dresses, the closed eyelids, the sunlit lace, the flutter of puff sleeves, ill-fitting nightgowns on bodies that swim in a mist, drift on dreams; tiny bodies hastily, unwillingly dressed.

These images were made scientifically in the photographer’s eye, in her mind, in the ‘dark room’, where, from which, out of the same nocturnal mist, burst imaginary memories of childhood; morbid disguises, torture inflicted on dolls beneath the unfailing, ophelian caress of sleep.

“Drapery”, Roger de Piles wrote in 1699, “should not be arranged like dress as used in society; let pleats find their own place around limbs by chance, making them appear as they are and yet stand out through the diligent device of stroking, somehow emphasizing them, with softness and tender winding”.

To reveal what is hidden, and conceal what is exposed: disquietingly familiar scenes that combine truth and the technical illusion of their own making. Confusing the tracks, giving birth and death; a transposed apocalypse where the angels themselves seem to put on the dazzling tunics of paradise lost.

- José Puig
Read more
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