Garçon

$3,855
Painting
One of a kind work
38 x 57 in
Recipient of the dedication:

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Technique
Oil painting
Type
One of a kind work
Material
Canvas
Dimensions
38 x 57 in
Framing
Quality Guarantee
Sold with a certificate of authenticity

Oil on canvas, landscape in Breton country.

Childhood and the joy of living; contemplation is part of the joy of living. The landscapes lend themselves perfectly to this game.

Leïla Gaillard prepares her paintings with skin glue. She then coats them with a gesso by sanding between each coat. This gives a smooth surface. It first performs its gradients and has a fairly long drying time before continuing its composition.

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artist avatar

Leïla Gaillard

10 fans

NOISY-LE-SEC (93), FRANCE

13 works

Pictorial intention "The revolution implied by ecological concern encourages us to see this nature, no longer as a source of inspiration but as a source of reflection on the impact of human activities on living things. Aesthetics accompanies the ongoing cultural change: that of ecology "Loïc Fiel No longer looks at nature as the source of beauty, but as a questioning of its past and its future, "these reserves of colours" are as many reminders that nothing escapes us anymore. I want to disturb the viewer with these "apparitions of colors" in the middle of this formalism and that we pause the question of the "why". Treat this feeling of strangeness as urban. This contrast between slowness and frenzy, this obligation to slow everything down. This urbanization that leaves us no respite. Creating my paintings in the studio is a way to avoid reality, since what is "outside" is different from my painting. The landscape allows me to contemplate from afar all the places on which I could anchor myself. Outside, I would be distracted by this reality. I can live and move in a place, I can't walk in a landscape. The place is what anchors in space, a landscape implies a displacement outside the place to better detach itself from reality. In my painting, the places are sometimes without places, and give rise to a feeling of disturbing strangeness that touches precisely on the question of home. In these landscapes, there is also a question of exile. I have a fascination for Peter Doig and his ability to talk about exile. My personal history leads me to paint these "first landscapes", these large fields. A certain nostalgia for the lost world, an aesthetic of melancholy. This contrast between two lands, two stories. It is not only landscape painting but a search for atmosphere, for questioning. In many ways, the places I choose are ordinary with a disconcerting tranquility. It's just an observation. I use photography to trigger my creative process. Photography allows assembly processes between two sometimes heterogeneous elements. This can sometimes give the viewer the impression of a fake snapshot. But also engravings, because with engraving you can experiment with different traces while keeping certain steps.

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