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Philodendrons en bleu

$947
Painting
One of a kind work | Ready to Hang
64 x 136 cm
Recipient of the dedication:

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Technique
Acrylic painting
Type
One of a kind work
Material
Mounted Canvas
Dimensions
64 x 136 cm
Framing
Quality Guarantee
Sold with a certificate of authenticity

Philodendrons in Blue plays with the accumulation of contrasting planes, coloured surfaces and alternating refined graphics. A large surface painted in the foreground seems to be held by adhesives supposedly on the background. Cold colours and contrasting values collide with the underlying yellow. The raw fabrics, recovered materials that serve as support, allow free canvases with sharp edges cut raw or torn. Their weaving yarns appear; the raw material is rough and rough. And the figuration conflicts with the density of the coloured, superimposed, intertwined and full frame surfaces and confronts the moving structure of the free canvas of the support.

artist avatar

DBD Danielle Bonnet Deseuzes

27 fans

Poitiers (86), France

31 works

Professor of visual arts for 22 years in the academies of Grenoble, Poitiers, Nouméa. Artistic practice alone since 2011, the absence of a frame makes painting and canvas work in the same movement; only the bare canvas and the pictorial fact without any other constraint than their suspension. The canvas in addition to a support then participates in the movement of the shapes in the image. A moving and active support, also recalcitrant. And the entanglement of exploited vegetable forms, often oversized, works with a coloured system unsuited to a realistic approach and a rough treatment of the figurative form by the gestures and viscosity of the painting. my work is therefore most often done on a free canvas support, without a frame, raw and old, diverted from its primary function. This support is irregular, sometimes edged with a seam or cut raw, with visible threads. The unstressed canvas is refractory, the cutting of the support, the defects of the weaving, resonate with the worries of the painting. Images at the border of figuration; reality is a raw material, a starting point; my recycled fabrics are a great story of thread, embroiderers and needles, wax, dirty hands and solvents, clothes and patterns, accumulation... Here, they are old embroidered fabrics, openworked, reprinted, linen sheet, mixed, cotton, hemp, waste. He has lived through ages, lives. I miss him when I can’t handle him, tinker with him, crush him. Without a frame to stretch it, it is resistant, I sew it up, I iron it and I coat it with resins. I notice it in the workshop. Vertical, the coating makes it strong. And it is always suspicious under a thin layer or a large bark of colour that he tells his singular way of still being there, from canvas to canvas, another armor, another wall. The plants climb up, the colour sometimes runs off, the dimensions are obvious; the close-up, the out of frame, the diversity of formats, overflowing on all sides. And this recycled fabric carries again and shows the stem, the fibre from which the canvas comes.

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