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Sans titre 14

$3,204
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Painting
One of a kind work | Ready to Hang
150 x 120 cm
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Technique
Acrylic painting
Type
One of a kind work
Material
Mounted Canvas
Dimensions
150 x 120 cm
Framing
Quality Guarantee
Sold with a certificate of authenticity

Evocation of an ancestral moorland

This work is part of a series of four large formats (120x150 cm) initially worked for Arnaud Gautron’s solo exhibition in Lannion (Brittany) in July 2015. By its horizontal construction, with a demarcation approximately in the middle, it can evoke a landscape. The upper part, mainly without thickness and light grey in colour, is vertically striated. The lower part, much more textured, is enriched with many details in ochre, blue and black tones. Some places seem to be hollowed out of the material and reveal the lower layers of paint, or even the canvas itself.

The technique used mixes acrylic paint and water-soaked absorbent paper. During his research since about 2008, the painter has explored this practice, which allows both to slow down the drying of acrylic paint and to manipulate a thick way to render folding effects.

artist avatar

Arnaud Gautron

33 fans

Plestin-les-Grèves (22), France

56 works

Born in Paris in 1978, Arnaud Gautron is a visual artist. After an initial training at the Grandes Ecoles, he has been developing a parallel practice of creating commissioned images and his own plastic research since 2001.

"[...] Abstraction, writes the critic Michel Seuphor, his great defender, " is by no means the path of ease but that of pure creation, I would say, by giving the word its etymological meaning, of self-invention. "Contemporary artists are fascinated by it. Matter can do anything. It gives Arnaud Gautron’s paintings an intense inner life. His gestures, his imagination, his moods are embodied in his material that he crumpled, loaded and energized. From Pollock, he took the action to produce a shower of stars. He looked at Kiefer and his large fields of memory. Like Fautrier, he found a way to wrap the mystery in the wrinkled skin of his painting [...] Ghost landscapes, reincarnated lands, dense and dark matter, and crumpled, cut-out papers, his landscapes do not require landscapes, their bilious states, their melancholy, their phlegma, their dryness, implode. ...] Having found his element, he comes to melt all his images into it. It is materializing. It is "cosmotic" writes Bachelard. "
Ileana Cornea, Paris, March 2015 Art critic and journalist for Artension magazine

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