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Au couchant

$2,600

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Technique
Oil painting
Type
One of a kind work
Material
Mounted Canvas
Dimensions
80 x 80 cm
Framing
Yes (87 x 87 cm)
Quality Guarantee
Sold with a certificate of authenticity

The setting sun is only the dawn of a new day. We have got into the habit of setting limits, sometimes for no reason... the artist does not wish to give limits to his imagination, to lock himself up in habits, to allow himself to be constrained by clichés... In order to preserve his freedom of expression, he expresses his way of living time, without forced steps. He does not perceive time as a succession of days, which pass one after the other, but as a continuous unfolding, like the brush that runs across the canvas without wanting to settle down...

artist avatar

Dominique Prévots

17 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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