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Face à face 7a

$812
Drawing
One of a kind work
42 x 59 cm
Recipient of the dedication:

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Technique
Ink drawing
Type
One of a kind work
Material
Paper
Dimensions
42 x 59 cm
Framing
Quality Guarantee
Sold with a certificate of authenticity

Just Fluid" Collection We are born from fluidity, from the liberation of the artist's gesture under the impulse of his creativity and his energy. We are in turn nervous, supple, soothing, curious or astonished. The ink reveals us to ourselves, expressive and simple in the unity of this material. Simple and complex at the same time because ink flows, free and rebellious, not allowing itself to be handled so easily. It bends under the brush or the pen, escapes quickly. Impossible to lock it up, to frame it, at best the artist manages to show it the way. "It is this untamability, this wildness that I love in ink, fascinating because it is as unsubmissive as a horse can be deep down despite apparent constraints.

Technique: original ink painting on natural tinted paper, fixed with a varnish, unframed.

Size: 42 x 59.4 cm.

Year: 2020.

Signed on the front of the drawing.

artist avatar

Benedicte Gele

53 fans

Le Chateau d'Oleron (17), France

160 works

Horses have always played a part in Bénédicte Gelé’s life. Born in 1975 and brought up in the Parisian suburbs, she had no prior history with horses. The animal remained a two-dimensional object in magazines or sometimes a figure in the background of a distant meadow when on holiday. However, an overwhelming fascination, an almost unexplainable attraction and a particular bewitchment encouraged her to strive and spend more and more time with these animals.

After obtaining a baccalaureate in Applied Arts and a further certificate in Visual Communication, she became a graphic designer and then artistic director. She then found a lively, clever little mare and started drawing horses with a quiet obsession. In 2004, her professional and equestrian lives seemed to merge with horses, of course, as the cornerstone.

The artist is just as drawn to the animal and to the act of drawing itself. The living form, with its curves and movement, reminds her of the nude studies during her school days. The body in its simplest form, as crude as the pencil stroke, the artist’s basic technique, grey or black, pure and powerful.

She does not paint for the myth or legend of the animal, or for its strength, even though she respects it all. Above all, she paints the physical, the sensual, a wave of primal emotion that the body provokes. She could have chosen a man or a woman, but horses have a cruder, more animalistic quality to their posture than humans do. Horses have a powerful, captivating presence, with their natural solidity.

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