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Stéphane Spach

6°51' N, 158°13'E, 2019

Photography : pigment ink 23.6 x 63 x 0.2 inch

$3,006

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Stéphane Spach, 6°51' N, 158°13'E

About the artwork

Artwork sold in perfect condition

Disappearing Islands series. Pigment inks on Hahnemühle 308 gr pure cotton paper mounted on aluminum Dibond, diptych. Ready to hang. This photographic series leads us to think of photography as a cartographic tool. We discover plans of islands that have now disappeared under water: the titles are actually geographical coordinates. The artist models mirage landscapes using blue pigments and performs a two-step shooting protocol. He stares at these islands just before they disappear. The photographic medium and the materials chosen extend the evocation of a fragile and ephemeral character in the face of the test of time. At a time of issues related to the protection of the environment, this proposal warns our perception of nature and invites us to adopt a preventive approach to its destruction. The work here is the trace of an impossible return to the past. Klein Blue.
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About the seller
Galerie de l'Est • Compiègne, France

Artsper seller since 2017

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Dimensions cm inch
23.6 x 63 x 0.2 inch
Framing
Not framed
Type
Numbered and limited to 5 copies
1 copy available
Authenticity
Work sold with an invoice from the gallery and a certificate of authenticity
Signature
Not Signed
Themes

Worldwide delivery

The artwork is available for pickup from the gallery in Compiègne, France or can be delivered to the address of your choice within 1 to 2 weeks after validation of your order. The work is insured during transport, so it's risk-free.
Origin: France Find out more about delivery

Free returns

If you change your mind, you can send it back free of charge, and we'll reimburse you. Find out more about free returns

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Stéphane Spach

Stéphane Spach

France • Born in: 1962

Nature photographs

Photographers Artists

French artists

Stéphane Spach's photos are beautiful. Of that obvious beauty, which escapes the decorative, the necessary beauty stripped of simple things. Stripped but may not be ascetic. A touch of sensuality, a soft chromaticism readily inhabits the work of the melancholy photographer. Looking at these photographs, we see that there is day in the night, it is a night to which our eyes are not accustomed, a dull and deaf night, preserved from luminous halos and hostile headlights. Everything is in nuances, as if the exhibited objects gave off their own phosphorus, their own interior light. Rather, it would be the light of day distilled into the night, subtle, almost intimate images, where one is never in halogen.

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