Yellow, Circa 2015
Matthew Tyson  

Print : aquatint, dry point · 48 x 38 cm 18.9 x 15 inch

€300 300 €
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Shipped from: France

Delivery to: Germany , € 36

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 30 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

Technique & Support

Dimensions ( cm • inch )

48 x 38 cm 18.9 x 15 inch Height x Width x Depth

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Credentials

Vetted seller since 2013 • Top Seller

Description

This engraving explores the tension between void and matter.
The composition balances around a sharp chromatic contrast.
A vast yellow field dominates the upper part.
This area evokes a diffuse and still light.
At the bottom, dark shapes rise like monolithic blocks.
The aquatint work brings a textured depth to these silhouettes.
The use of drypoint traces precise and rigorous contours.
The artist plays with the idea of a minimalist landscape.
The gaze oscillates between the immensity of the background and the density of the terrestrial forms.
It is a search for the harmony and division of space.
The sobriety of the line emphasizes a thoughtful approach to representation.
The work is part of a limited edition series.
Created in 2015, this piece combines technical rigor and visual sensitivity.
The final rendering reveals nuances of gray and black on white paper.

Abstract

Abstract art

Yellow

Matthew Tyson, Yellow

Matthew Tyson

United Kingdom  • 1959

Presentation

Matthew Tyson was born in London in 1959.

It would be reducing to call the paintings of Matthew Tyson abstract.

Beyond its basic minimalism, there is a search of colors and complementary oppositions that go back and forth between the reference to light, as it flows and makes the landscape dynamic, and the concepts of division and harmony... "My work talks about the immensity of nature, he writes, as well as the fear it generates, without really being a threat.

Life and death are brought together in a delirious whirlpool that can only be calmed down by the doubtful restraints of the language, its traces and marks. The problem is always the representation, for example, of a landscape that is too huge to be painted or drawn in its infinite richness of details, and even the most sophisticated technology is not able to do it.

The light on a hill slope and the perception it generates have to be taken both into consideration." An unexpected flow finds its place and connects the various elements, shapes and colours.

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