Popeye

$443

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Technique
Mixed media
Type
One of a kind work
Material
Canvas
Dimensions
20 x 20 in
Framing
No
Quality Guarantee
Sold with a certificate of authenticity

Collage: paper glued on a POPEYE canvas, enhanced with acrylic paint with a glossy varnish finish and hand-signed on the back.

For his very last work, more manual this one, Morgan Paslier still keeps a link with photography. His father, himself a passionate photographer, sold him his collection of the magazine ZOOM (a specialized photo magazine from the 1970s). At the same time, he finds at his parents' house, a braiding of strips of cut and painted paper that he had made as a child. He then came up with the idea of using these magazines in the same way. In this way, he weaves strips of paper from the previously cut magazines, alternating the images lengthwise and widthwise. He obtains a square canvas. But when he turns it over, he realizes that the reverse side is more aesthetically pleasing to him. He decides to use this reverse side for the rest of the work. The braiding is then mounted on canvas, before being enhanced with acrylic.

artist avatar

Morgan Paslier

174 fans

VIGNOC (35), FRANCE

214 works

Morgan Paslier is interested in materials, textures and their details. For the work he produces in digital montages, he begins by finding the materials he is going to photograph.

Image creator

Morgan Paslier has been interested in photography since he was in college. Using a Lomo camera, he experimented with image creation. After working in the audiovisual world as an assistant decorator and lighting assistant, he became a professional photographer.

Paslier’s work is artistic, focusing on the details of materials which he photographs during his travels and walks. Anne-Cécile Satta, founder of the Marie Ricco gallery, discovered his photos by chance and decided to exhibit them in her gallery to promote his work.

Skilled photographer

Like Jacques Villeglé and Raymond Hains, Morgan Paslier is fond of the tattered posters covering information panels. He looks in particular for zinc panels that have just been cleaned by the local council where only a few scraps of paper remain.

These are the details he first photographs and then uploads to his computer so that he can use them to produce digital montages by superimposing pieces of images. This initial montage works as the background of the piece, over which he superimposes the portrait of a famous figure or icon, almost like a stencil.

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