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Georges DUMASAjourements II

Confirmed artist
Painting
One of a kind work | Framed and Ready to Hang
40 W x 70 H x 2 D cm
$1,327
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Technique
Mixed media
Type
One of a kind work
Material
Mounted Canvas
Dimensions
40 W x 70 H x 2 D cm
Framing
Yes (46 W x 76 H cm)
Quality Guarantee
Sold with a certificate of authenticity

"Ajourements II" is a very particular painting where the character is ghostly, disappearing behind a lace that hugs the contours of the body but seems to hollow out what is underneath. What dominates here is the sensation of lightness, of evanescence. Absence of the presence, presence of the absence, the figure is at the same time there and not there, visible and invisible.

This painting is a unique piece made in mixed media on canvas and combines photography, digital composition and acrylic painting (many layers of transparent glaze and square in relief). The painting is framed in black wood (total dimensions: about 76 x 46 x 3.5 cm)

artist avatar
Georges DUMAS
Confirmed artist
France

KAZoART artist since 2018

80 works sold

149 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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