-22, 2021
Photography : pigment ink · 50 x 40 x 0.5 cm 19.7 x 15.7 x 0.2 inch
$1,167
1 167 $US
Shipping & delivery
Shipped from: France
Delivery to: United States , $ 104
Estimated delivery: One to two weeks
Free returns within 14 days, full refund
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Sold with certificate of Authenticity from the artist
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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 0.5 cm 19.7 x 15.7 x 0.2 inch Height x Width x Depth
Sold by
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 mounted in aluminum Dibond.
Ready to hang.
Stéphane Spach's photography combines the attention to the smallest things with a procedural systematism. By touching the status of evidence, his images obtain a remarkable documentary power. They become the testimony of an emotional and photographic look at the collection undertaken by the artist. Photography thus appears as a substitute object, descending from a nature that has already disappeared.
Ready to hang.
Stéphane Spach's photography combines the attention to the smallest things with a procedural systematism. By touching the status of evidence, his images obtain a remarkable documentary power. They become the testimony of an emotional and photographic look at the collection undertaken by the artist. Photography thus appears as a substitute object, descending from a nature that has already disappeared.
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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