Amazonie (les désastres de l'anthropocène)

$4,757
Drawing
One of a kind work
55 x 42 cm
Recipient of the dedication:

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Technique
Mixed media
Type
One of a kind work
Dimensions
55 x 42 cm
Framing
Quality Guarantee
Sold with a certificate of authenticity

"Amazonia" is a work made on wild silk, which I burned with a thermal scraper and a pyrograph. The burn creates accidents that often make the drawing escape me, that the fabric ignites and creates punctures in the image.

Then comes a very long work of silk embroidery, which comes both to "repair" the image and to represent the flames of the representation. This new series takes an impotent and fascinating look at what scientists have come to call the "anthropocene era", that is, the geological era in which human activity has come to influence the ecosystem and the living to the point of changing it.

It is a question of printing - burning - in the support, the state of motionless amazement in which I, like many others, am immersed in the extent of the new cataclysms that humanity is led to witness. Faced with this collapse of the world as we know it, I burn to draw, then I embroider with silk as if to repair the disaster imposed on my support. For a long time, unnecessarily, like a Helen in vain." - Emmanuelle Mason

artist avatar

Emmanuelle Mason

59 fans

TOULOUSE (31), FRANCE

64 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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