Dérèglement IV, 2024
Photography : color edition, paper, HD print, fine art print, mixed media · 60 x 40 x 6 cm 23.6 x 15.7 x 2.4 inch
$1,742
1 742 $US
Delivered in time for Christmas
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Shipped from: France
Delivery to: United States , $ 200
Estimated delivery: Two to three weeks
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Verified Reviews : 9.6/10
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About the artwork
Type
Photography : Unique artwork
Condition
Artwork sold in perfect condition, not framed
Authenticity
Sold with certificate of Authenticity from the artist
Invoice from the artist
Signature
Signed artwork
Technique & Support
Dimensions ( cm • inch )
60 x 40 x 6 cm 23.6 x 15.7 x 2.4 inch Height x Width x Depth
Sold by
Independent artist
Credentials
Vetted seller since 2021
Discount
This seller offers discount when you purchase multiple artworks.
Description
Climate change disrupts the natural order to the point of reaching a tipping point that results in profound transformations of the landscape. The artist therefore wanted to literally represent this idea of disruption by cutting the landscape into strips and shifting them relative to each other, thus disrupting our vision of it. This work also questions the limit of these disturbances caused by Man, will they go so far as to physically disrupt geography, which is sometimes the case in certain regions of the world. This work is also a reference on the one hand to the work of Enki Bilal in his series "Coups de sang" in which the Earth wounded by the outrages suffered by Man changes itself, "self-sculpts" its landscapes in a different order.
Photograph printed on Hahnemuehle 315g Baryte fine art paper mounted on a wooden support.
Presentation
Photographer for 11 years, whose photographic quest has always been that of the intact landscape. This sought-after intimacy with nature, the landscape is called into question by the omnipresence of mankind in the environment, not only because of its way of life but also of mass tourism.
Seeking to represent this impact of human beings on this nature and its environment in general (nature and the urban) with which he maintains an ambiguous relationship, he will add another medium - painting - to his photography.
Contrasting singularly with the photograph which represents a reality, the painted motif inserted therein therefore aims to question this ambiguous relationship.
Continuing the process to the end with the frame which represents artificiality, the motif itself is overflowing with it because now it is indeed Man who is the cause of everything, and no longer simply "the measure of everything" (Protagoras).
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