14c2, 2014
Pierre Muckensturm   Master Artists

Print : aquatint · 50 x 150 cm 19.7 x 59.1 inch

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Verified Reviews : 9.6/10
About the artwork

Type

Print : numbered and limited to 11 copies

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 )

50 x 150 cm 19.7 x 59.1 inch Height x Width x Depth

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Description
Aquatint copperplate printing on BFK Rives paper 250 g.

Pierre Muckensturm added printmaking to his oeuvre since 2010.

The engraving and printing process allows him to further explore notions of time and perspective. Muckensturm is inspired by the concepts of calmness, constancy and temporality. His work visually expresses a sense of harmony with time.

In his prints, he begins with gestural marks, examining them in detail, transforming them gradually, exploring how they communicate differently as he alters their size, shape, depth, magnitude and orientation over time.

This artwork is sold as a triptych. Each image size is 50 x 50 cm/20 x 20 inches, full paper is 50 x 50 cm/20 x 20 inches

Edition 11 - AP: 4/5
Pierre Muckensturm, 14c2
France  • 1970
133 followers

Presentation

Pierre Muckensturm is a french abstract painter and print maker born in Strasbourg, currently living in Colmar. He studied at Louis Pasteur University in Strasbourg. He is searching for the symbol, the matter and the light in the dark and the silence. He loves the dark, but he loves it from a scientist's point of view. « It's substantive work: the research of non-colour ». Or the research of a material. He starts with figurative painting and discovers abstraction in 2004 through Le Corbusier.

This is what Pierre Muckensturm says about his paintings : « The canvas is not a support anymore. I work on what it undergoes ». The canvas becomes painting in the end, and the black allows the examination of its apparent silence. So the color is not interesting in this context. He is inspired by calmness, constancy and temporality. He meets Julius Bissier, whose work also brings tranquility.

And neither is the shape: « The cross is a meeting point. This is where it happens ». The cross and the black question the « the immensity, or not ». This is a question of weightlessness, « of acceptance of the imbalance ». Not a shape, event if it owes its symmetry and its relentless geometry to the Alsatian culture, so rigourous and so well-ordered.

In 2004, he starts working on large scales canvases with oil painting, mixing calmness and intensity, sometimes adding printmaking, therefore exploring time and perspective.

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