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La manifestation, paris (dessiner après la fin du monde)

$1,413
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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," "The manifestation" is a work made on cotton that I burned with a pyrograph. The burning 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 represents the flames of the representation. This new series looks at what scientists have come to call "the anthropocene era", that is to say, the geological era in which human activity has come to influence the ecosystem and living things to the point of modifying them.

It is a question of printing - burning - in the medium, the state of immobile astonishment in which I am, like many, immersed in the face of the extent of the new cataclysms and social crises that humanity is being 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. Long, uselessly, like a Helen in vain." - Emmanuelle Mason

artist avatar

Emmanuelle Mason

67 fans

Toulouse (31), France

76 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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