Camp fire, california. (les désastres de l'anthropocène)

$1,409
Drawing
One of a kind work
22 x 22 cm
Recipient of the dedication:

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Technique
Mixed media
Type
One of a kind work
Dimensions
22 x 22 cm
Framing
Quality Guarantee
Sold with a certificate of authenticity
silk thread embroidered on burnt cotton, 20x20 cm, 2019"Camp fire" is a work made on cotton that I burned with a pyrograph. The burn creates accidents that make the drawing escape me, the fabric ignites and creates cracks in the image. Then comes a very long silk embroidery work, which both "repairs" the image and depicts the flames of the representation. This new series looks at what scientists have come to call "the anthropocene era", i.e. this geological era where human activity has come to influence the ecosystem and the living to the point of modifying it. It is a question of imprinting - burning - into the medium, the state of immobile astonishment in which I, like many, am immersed in the face of the extent of the new cataclysms that humanity is being called upon 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. Long, uselessly, like a Helen with a vain gesture.
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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