Pudeur

$2,231
Painting
One of a kind work
55 x 90 cm
Recipient of the dedication:

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Technique
Mixed media
Type
One of a kind work
Material
Canvas
Dimensions
55 x 90 cm
Framing
Yes (61 x 96 cm)
Quality Guarantee
Sold with a certificate of authenticity

This work belongs to a group entitled "Marks & Graffiti" which explores the urban traces left on the material used to petrify bodies. These bodies thus become sculptures but also carry stigmas specific to the landscapes of our contemporary cities, whether they are graffiti, tags or here, in the case of "Modesty", construction marks. This painting is made in a mixed technique on canvas and involves photography, digital art and acrylic painting. The image appears under a dozen layers of acrylic glaze and is enamelled with hand-embossed squares, also in acrylic. The finish is made with a glossy varnish as for all my works. It is a unique piece and the canvas is framed in an American slush box (see photos 2 and 4)

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Georges DUMAS

Renowned Artist Renowned Artist
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52 fans

AUBERVILLIERS (93), FRANCE

82 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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