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ARTLOVER150

Ligatures 2

$1,359

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Technique
Oil painting
Type
One of a kind work
Material
Mounted Canvas
Dimensions
73 x 118 cm
Framing
No
Quality Guarantee
Sold with a certificate of authenticity

When some people think that our ligatures are holding us back, obstructing our thinking, preventing us from blossoming, from moving forward, from going forward, from going forward, others see it as the most effective way to refocus, to concentrate our mind to make it more fruitful, to draw strength from it and to transcend ourselves to free ourselves from it. Oil on raw linen canvas worked alternately in large rough flat tints and fineness of line and drawing with a fine brush and diluted oil.

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LABB

Best seller Best seller

235 fans

SCEAUX (92), France

112 works

Every day, LABB paints balances, sensitivity, imagination and dreams.

In Search of an Ideal Aesthetic Form

Obsessed with balances, the artistic work of Laurence Bost, known as LABB, is a permanent search for skillful mixtures to approach an ideal form of aesthetics. This is reflected in the ubiquitous contrasts such as rough solids and fine lines, opaque and transparencies, light and dark, fine shades or strong color contrasts, solids and voids, the abstract mixed with scraps of figurative.

Her favorite themes are nature and man's place therein. The recurring presence of ribs, asperities, roots, branches, stems, lianas, withers, ligatures and entanglements are all ways of thinking about our links, shackles, correlations, fetters, dependencies, easements and isolation.

It is common for the same work to offer the viewer three levels of reading. From a distance for a global view of the composition "Plan view", from a classic distance for an overview of the drawing "Front view", and very close to discover tiny details invisible at first glance "Macro view". Thus the work offers several possible interpretations. In this sense, his canvases or drawings frequently work in all four directions.

A Well-Crafted Technique

LABB assembles the cotton or linen canvases herself. She then coats them with a spatula with a thick layer of pasty acrylic which leaves slight reliefs while drying.

LABB then works only with fine oil, often using white spirit to dilute it and obtain material effects. She continues by working her backgrounds with large brushes in a very brutal way. Often several coats are necessary to obtain the desired transparencies and contrasts. Then she then works the patterns with a fine brush with delicacy and precision, unlike the backgrounds.

For inks on paper, LABB uses Ecolines and India ink, alternating fast work, with a watercolor brush for the backgrounds, and very fine nib for the drawn parts.

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