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Emmanuelle MasonSyria 8

Prints
One of a kind work
50 W x 65 H cm
$206
Recipient of the dedication:

$21 Shipping (France)
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Technique
Engraving
Type
One of a kind work
Material
Paper
Dimensions
50 W x 65 H cm
Framing
No
Quality Guarantee
Sold with a certificate of authenticity
This work is a macule (i.e. a sketch) from my "Syria" series. these compositions use the silkscreen process while being unique works: each composition is made from 12 drawings transferred onto silkscreen frames that I arrange in order to recreate a unity. this is a work that has a particular meaning for me, since it is made from 12 drawings that I made from photos that I showed Syrian refugees with whom I was engaged in 2014-2015. These people were living in squats in the Izards district of Toulouse, and with the association "Food not bombs" we gave them food and basic necessities, until the destruction of part of the squats by bulldozers in 2016. Throughout this accompaniment, I was looking for a way to talk about them, the stories they told me, the photos of their destroyed homes that they showed me on their phones. I felt I had a duty to make their stories visible. In the end, it was through the figure of ruin that I was able to put their testimonies on paper. In these compositions, the white of the paper becomes my silence in front of their stories, the terrain where the gaze wanders in search of meaning.
Emmanuelle Mason
France
  • KAZoART artist since 2020
  • 16 works sold
  • 76 works
I mainly present my graphic work on Kazoart. Indeed, for the past 8 years, I have never stopped questioning drawing, in a way where paper becomes a body, a territory, a "milieu". Sometimes it is the paper itself that becomes a drawing, as I cut it, burn it, I present here different series: - The lace series (in progress) - The erotic drawings series ("cut" and "burn") (in progress) - The disaster series (mainly Syria) - The still life series As well as some special works, in these series, we always find an ambiguity, a fascinated and insurgent look on a world that I can hardly bear. I point, with the tip of my pen, sometimes the unspeakable, sometimes the micro-drama, sometimes the illness or the state of love. My subjects are not always easy, sometimes terrible, but always treated with delicacy, the virtuosity of the facture "trapping" the gaze that would usually turn away. I try to replay this question of the sublime: what is beautiful and frightening at the same time. Even when my work gets tender, there is a cut, a burn, that tries to take care of the more ambiguous tone of the subject.
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