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Abdication

$989

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Delivered with a certificate of authenticity

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

"Abdication" belongs to a series of twelve paintings devoted to power, which is approached using the figure of a queen. Here, the sovereign is the prey to discouragement, to despondency, she no longer wears the crown on her head but in her hand, a sign that she no longer reigns. In the same way, she is on the ground, sitting and cowering like a person who has given up power, who has given up. This painting is done in mixed technique on canvas and combines photography, digital recomposition and acrylic paint (a dozen layers of glaze and relief squares). It is a unique piece, accompanied by a certificate of authenticity. The work is framed in an American black box.

artist avatar

Georges DUMAS

Renowned Artist Renowned Artist
Best seller Best seller

94 fans

Aubervilliers (93), France

128 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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