Les moutons

$4,696
Drawing
One of a kind work
200 x 300 cm
Recipient of the dedication:

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Technique
Pencil drawing
Type
One of a kind work
Material
Paper
Dimensions
200 x 300 cm
Framing
Quality Guarantee
Sold with a certificate of authenticity
The series of still lifes "Meat is the common zone of man and beast, their zone of indistinguishability, it is this "fact", this very state where the painter identifies himself with the objects of his horror or his compassion" - Gilles Deleuze Francis Bacon, Logique de la sensation... For this series, my graphic work, almost topographic, closely gives an abstract, gestural and nervous interlacing, as graphic capillarities, landscapes... From a distance, the drawing is hyper-realistic. The nerve of this work would be the opposition between a "beautiful" way and a "disgusting" subject. With this opposition, I try to touch the sublime: what is beautiful and frightening at the same time. There is, in filigree, a great respect for the beast, perhaps an attempt to restore its sacredness, to pay attention to it, a child’s fascination for its "animation" (animal in Greek, it is what is animated, what has a soul). With this work, I am looking to revive the sumptuous function of the work of art, and I was able to draw these sheep hanging from a winch at the Toulouse veterinary school in 2010.
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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