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Good to be the king

$166
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Prints
One of a kind work | Framed and Ready to Hang
22 x 22 cm
Recipient of the dedication:

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Technique
Digital Prints
Type
One of a kind work
Material
Paper
Dimensions
22 x 22 cm
Framing
Yes (30 x 30 cm)
Quality Guarantee
Sold with a certificate of authenticity

In the land of imagination, two look-alikes of the famous Disney muses, although genetically modified, are just as determined as their elders! In the series "Different, still famous" the work "Good to be te King" is a true assertion of self. We all have a little something different :-) Limited and numbered print of a work with frame. Print on satin matt coated paper Passe partout: White Wood frame: black Careful packaging coming soon [o||o] D2L

artist avatar

CoLLot D2L

Montreuil (93), France

12 works

The painter Delphine Collot Millas alias CoLLot D2L questions us, is she like those cells that develop in the chrysalis allowing its transformation into a butterfly? With her "genetic baggage" - she comes from an artistic background - she was predisposed to take an interest in art, if not programmed, but her artistic mutation, which had been maturing since childhood, was accelerated by these types of events, which are not necessarily random. Then, in his artist's matrix, one fine day, came the bean battalions.

In order or scattered, monochrome or barded with colours and mysterious signs, they can travel through a familiar or foreign body, forming a genetically different corpus with each new canvas, as if two different genes, the concept gene and the emotion gene, were to end up mating. And his beans to get away from their family (Support-Surface), to live their mutant life with a beautiful imprudence. They wander around in places where you don't expect them, picking out his little artist gene of random propositions.

For Viallat, the artistic family to which she can be attached, the subject is non-form and deconstruction, whereas for Delphine Collot-Millas the subject is, on the contrary, the form in mutation, a force of construction and a surge of life. If the repetition intervenes, it is to make it advance on a problem of a plastic nature and its beans, "forms in mutation" become progressively too human, the paragon of the groping of medical research, of its advances, which fascinates her. His accidents, too. The perfect gene does not exist, neither does the artist's unequivocal path. She prefers equivocation, which allows her to lift the veil lightly on issues relating to the medical and societal field: how are those who are different treated in a normative society?

Women who cannot have children, the disabled, people with rare diseases... are the tiny part of an iceberg created by an environment plagued by invisible violence that generates serious dysfunctions while society focuses on what is visible.

She named her concept: "The imaginary" or how in nature, the imaginary cells, those that fight against the existing cells of the chrysalis end up victorious in the battle to give birth to the butterfly. She loves the image, metaphor and symbol that embrace the imaginary and a genetic reality. It programs nothing, proclaims nothing but questions the world of the cell in its current environment. A very contemporary work.

- Text by Armelle Leclercq

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