Cut 3 (les nageurs)

$388

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Technique
Mixed media
Type
One of a kind work
Material
Paper
Dimensions
11 x 15 in
Framing
Yes (16 x 20 in)
Quality Guarantee
Sold with a certificate of authenticity
Drawing and scalpel cutting on Arches 320g paper, this drawing is scalpel cut and is part of the "Cut" series, composed of drawings, prints, burns and erotic cuts, where the paper becomes the skin itself, the plastic operations the caresses or scratches. Always obsessed with drawing, I experiment with what happens when the tool passes under the plane of paper, the drawing is almost a microsculpture, the sensuality of my gesture and my relationship to paper being like the plastic counterpart of the state of love in question. these experiences allow me to address issues that are dear to me, such as female sexuality and feminism. These drawings are resistant to the eye, you have to find the right light, the right point of view so that the drawing, made up only of shadow and light, appears to us. I find this idea of an appearance particularly suitable for talking about love and intimacy, the drawing is sold with its custom-made frame, under anti-reflective glass.

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artist avatar

Emmanuelle Mason

23 fans

TOULOUSE (31), FRANCE

43 works

I mainly present my graphic work on Kazoart. Indeed, for the past 8 years, I have never stopped questioning drawing, in a way where paper becomes a body, a territory, a "milieu". Sometimes it is the paper itself that becomes a drawing, as I cut it, burn it, I present here different series: - The lace series (in progress) - The erotic drawings series ("cut" and "burn") (in progress) - The disaster series (mainly Syria) - The still life series As well as some special works, in these series, we always find an ambiguity, a fascinated and insurgent look on a world that I can hardly bear. I point, with the tip of my pen, sometimes the unspeakable, sometimes the micro-drama, sometimes the illness or the state of love. My subjects are not always easy, sometimes terrible, but always treated with delicacy, the virtuosity of the facture "trapping" the gaze that would usually turn away. I try to replay this question of the sublime: what is beautiful and frightening at the same time. Even when my work gets tender, there is a cut, a burn, that tries to take care of the more ambiguous tone of the subject.

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