Jonquilles, 2019
Photography : pigment ink · 50 x 40 x 0.1 cm 19.7 x 15.7 x 0 inch
€900
900 €
Delivered in time for Christmas
Shipping & delivery
Shipped from: France
Delivery to: Germany Free delivery
Estimated delivery: One to two weeks
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Verified Reviews : 9.6/10
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About the artwork
Type
Photography : numbered and limited to 5 copies
1 copy available
Condition
Artwork sold in perfect condition, not framed
Authenticity
Sold with certificate of Authenticity from the artist
Invoice from the gallery
Signature
Not Signed
Technique & Support
Dimensions ( cm • inch )
50 x 40 x 0.1 cm 19.7 x 15.7 x 0 inch Height x Width x Depth
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Art gallery
Credentials
Vetted seller since 2017 • Top Seller
Discount
This seller offers discount when you purchase multiple artworks.
Description
Pigment inks on Hahnemühle 308 gr pure cotton paper, printing with white border.
Series “Impermanents“.
The artist invites us to discover a sober nature, in half tint, far from the swarming of a green image with which this one is often associated. In reality, Stéphane Spach succeeds in capturing a precariously balanced nature, intrinsically ephemeral. By making them renounce their fleeting vitality while making them fight against their death, the artist's intervention transforms what were initially shreds of landscape into veritable timeless objects.
Series “Impermanents“.
The artist invites us to discover a sober nature, in half tint, far from the swarming of a green image with which this one is often associated. In reality, Stéphane Spach succeeds in capturing a precariously balanced nature, intrinsically ephemeral. By making them renounce their fleeting vitality while making them fight against their death, the artist's intervention transforms what were initially shreds of landscape into veritable timeless objects.
Presentation
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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