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Emmanuelle MasonLe zèbre

Drawing
One of a kind work
40 W x 30 H cm
$478
Sold
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Technique
Pencil drawing
Type
One of a kind work
Material
Paper
Dimensions
40 W x 30 H cm
Framing
No
Quality Guarantee
Sold with a certificate of authenticity

Extract from La série des natures mortes
"La viande est la zone commune de l’homme et de la bête, leur zone d’indiscernabilité, elle est ce "fait", cet état même où le peintre se identifie aux objets de son horreur ou de sa 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, like graphic capillarities, landscapes... From a distance, the drawing is hyper-realistic, the digital "juice" unifying the whole. The nerve of this work would be the opposition between a "beautiful" way and a filthy 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 make it sacred again, to pay attention to it, a child’s fascination for its "animation" (animal in Greek, it is what is animated, what has a soul).

Emmanuelle Mason
France
  • KAZoART artist since 2020
  • 16 works sold
  • 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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