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Nos racines III

$1,913

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Technique
Oil painting
Type
One of a kind work
Material
Mounted Canvas
Dimensions
60 x 60 cm
Framing
Yes (67 x 67 cm)
Quality Guarantee
Sold with a certificate of authenticity

Our origins are like the roots of a tree. When the tree is cut down, the roots remain... Are they still alive? This work is the third part of a triptych entitled "Our Roots". It is presented on its own as it is the last step in the artist's questioning of his origins. As a conclusion to this conclusion that each individual, if he forges throughout his life an identity of his own, he will have to take into account his origins... just as the tree has had its branches, or even its trunk cut, as long as the roots are in the ground, they continue to live.

artist avatar

Dominique Prévots

16 fans

SAUTRON (44), France

44 works

Dominique Prévots was born in 1953 in Le Havre, France. He grew up in a family for whom Art is only intended for an elite, and would not lead him to a serious future. After a long career in the digital world, weary of this ever-changing environment, he decided to follow an artistic training, convinced that this path should have been his own.

Discussing other than with words is the goal that Dominique Prévots has wanted to achieve since he entered the world of abstraction. This is not always easy to do in the face of the inevitable questions of the spectator.

Through his painting, Dominique Prévots is looking for a new language. A dialogue at the crossroads between the unreal and the figurative, between the informal and the suggestive. It's the thought that drives his gesture on the canvas. This thought, present as soon as he confronts the blank canvas; a thought that does not leave him until the work is completed.

As the work progresses, Dominique Prévots talks, the brush in action, sweeping the canvas with incessant gestures, often gentle, caressing, to envelop the creation of an atmosphere, an ambiance. When he grips the knife flat, it is to accentuate a precise point of the thought that guides him, when he manipulates the sharp side, it is to mark a stopping point, an interrogation.

The plastic work follows this verbal progression, this sequence of reasoning. The artist often instinctively questions himself, wonders about the relevance of his words, about their coherence. At the last brushstroke, at the last incision of the knife, reflection ceases, the artist "passes the hand", he entrusts the work to the eyes of the beholder, it is now up to him to destructure the artist's thought... if he wishes.

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