20JU2G-2020, 2020
Print : aquatint · 50.2 x 66.5 cm 19.8 x 26.2 inch
$1,402
1 402 $US
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Shipped from: France
Delivery to: United States , $ 248
Estimated delivery: One to two weeks
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Verified Reviews : 9.6/10
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About the artwork
Type
Print : numbered and limited to 19 copies
1 copy available
Condition
Artwork sold in perfect condition, not framed
Authenticity
Sold with certificate of Authenticity from the gallery
Invoice from the gallery
Signature
Hand-signed by artist
Dimensions ( cm • inch )
50.2 x 66.5 cm 19.8 x 26.2 inch Height x Width x Depth
Sold by
Art gallery
Credentials
Vetted seller since 2015 • Top Seller
Discount
This seller offers discount when you purchase multiple artworks.
Description
Aquatinte on Arches paper — Unframed.
Edition of 19.
Image size: 39.6 x 54.1 cm / 15.6 x 21.3
Paper size: 50.2 x 66.5 cm / 19.8 x 26.2 in
Clément's work fluctuates between painting and sculpture, a back and forth that both results from, and contributes to, an ongoing exchange of ideas.
The medium of painting offers Clément an arena in which gestural freedom, physicality, experimentation and immediacy can lead to the development of curved, graphic expressions of color and line, which may then be simplified and extended further into space as sculptural forms.
Presentation
Born in 1941, Alain Clément lives and works in Nîmes and Paris, France.
The uniqueness of Alain Clement's work lies in the close relationship that he establishes between painting and sculpture, a relationship enriched by printmaking, a medium he is particularly keen on.
Like drawing, printmaking allows him to clarify his research related to space through an attention to the accuracy of his lines. The paradox in this exercise is the fact that two-dimensional space - the sheet of paper or the canvas - becomes a field of experimentation for sculpture. When Alain Clement was working on reliefs on murals, he was speaking of color in connection to the volumes, and color disrupted the plane. Today, he still assigns this role to painting, but it's more about its graphic dimension.
His strokes, lines, ribbons and frames organize the space, they deny it, force it, dig holes in it, in a profuse body of work, that exceeds formal issues and affirms the expressive and polysemous power of painting.
The uniqueness of Alain Clement's work lies in the close relationship that he establishes between painting and sculpture, a relationship enriched by printmaking, a medium he is particularly keen on.
Like drawing, printmaking allows him to clarify his research related to space through an attention to the accuracy of his lines. The paradox in this exercise is the fact that two-dimensional space - the sheet of paper or the canvas - becomes a field of experimentation for sculpture. When Alain Clement was working on reliefs on murals, he was speaking of color in connection to the volumes, and color disrupted the plane. Today, he still assigns this role to painting, but it's more about its graphic dimension.
His strokes, lines, ribbons and frames organize the space, they deny it, force it, dig holes in it, in a profuse body of work, that exceeds formal issues and affirms the expressive and polysemous power of painting.
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