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Patience

$1,077
Painting
One of a kind work
55 x 40 cm
Recipient of the dedication:

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Delivered with a certificate of authenticity

Technique
Mixed media
Type
One of a kind work
Material
Canvas
Dimensions
55 x 40 cm
Framing
Yes (60 x 45 cm)
Quality Guarantee
Sold with a certificate of authenticity

This work belongs to a set of three pieces showing a naked man huddled on a parquet floor, in a posture and frame that echoes Caillebotte's "Raboteurs de parquet". The attitude of recollection evokes introspection, withdrawal into yourself and also a form of resistance to external aggressions, the rounded back forming like a carapace that protects while waiting for things to get better ... The painting is done in mixed technique on canvas. It combines photography, digital art and acrylic painting (lacquered glazes and reliefs as can be clearly seen in photo 3), it is a unique piece and comes with a certificate of authenticity. The work is framed in an American black box (see photos 2 and 4).

artist avatar

Georges DUMAS

Renowned Artist Renowned Artist
Best seller Best seller

58 fans

Aubervilliers (93), France

93 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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