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Le totem des espérances

$6,988

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Technique
Oil painting
Type
One of a kind work
Material
Mounted Canvas
Dimensions
100 x 180 cm
Framing
Yes (107 x 187 cm)
Quality Guarantee
Sold with a certificate of authenticity

The verticality of the work invites the spectator to look through it in an upward movement, an ascent towards an ultimate goal, a high idea of what the future will be, a future cradled with hope and joy, a wink to life, a challenge to death? "The Totem of Hope" was made for the exhibition of the International Neutralism Movement at the Mediolanum Museum in Padua (Italy) in November 2016. It was awarded a Bronze Medal at the Salon International d'Art Contemporain de Thionville in November 2019.

The work is framed by an American slush fund.

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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