Still standing

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Painting
One of a kind work
20 x 40 cm
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Technique
Mixed media
Type
One of a kind work
Material
Canvas
Dimensions
20 x 40 cm
Framing
Yes (25 x 45 cm)
Quality Guarantee
Sold with a certificate of authenticity

This nude that starts above the knees owes its title to the resistance posture adopted by the model: despite the large crack that runs from the neck to the groin, then extends over the thigh to the left, the woman is still standing, she holds on. This work is a unique piece that combines photography, digital art and acrylic painting. The first photo shows the painting in its purely digital version, before the acrylic intervention. The next three photos show it as it really is once painted, with a surface glaze close to the lacquer and with squares in relief worked here with gold metallic pigments. The painting is framed in a black American box (see photos 2, 3 and 4).

artist avatar

Georges DUMAS

45 fans

AUBERVILLIERS (93), FRANCE

72 works

For about ten years now, I have been creating paintographies. As its name suggests, a paintography is a mixture of painting and photography.

From photography, I keep the initial shot, an essential and unavoidable basis for the work to come. I also retain, despite all the successive manipulations carried out afterwards on the computer, the precision, finesse and plastic quality that certainly distinguish it from painting other than hyper-realistic. However, a paintography is not a photograph, it is a plastic construction that raises doubts in the eyes, that raises the question of the nature of the image that is offered to the eyes of the spectators. What part of the work was captured by the objective, what part recreated by the software work, what part brought by the acrylic glazes?

Layers, layers, stacks: despite its extreme readability, a paintography is a complex construction, based on a succession of screens. The fabric or skin never appears naked, they are always covered by a material that is as much a screen as it is a body with them. This matter is itself obscured by squares that seem either to detach from it or to deepen within it; by evoking the pixels at the base of any digital image, these squares remind us that this matter is a decoy, that it is virtual. And yet, in the works in mixed technique, it is precisely these squares that appear in relief on the surface of the canvas, in a strange transparent materiality...

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