Syria 1

$1,346
Prints
One of a kind work
30 x 43 in
Recipient of the dedication:

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Technique
Screenprint
Type
One of a kind work
Material
Paper
Dimensions
30 x 43 in
Framing
Yes (33 x 47 in)
Quality Guarantee
Sold with a certificate of authenticity

These compositions use the silkscreen process while being unique works: each composition is made from 12 drawings transferred to silkscreen frames that I arrange in such a way as to recreate a unit, a work that has a particular meaning for me, since it is made from 12 drawings that I made from photos shown to me by Syrian refugees with whom I was working in 2014-2015. These people were staying in squats in the Izards district of Toulouse, and with the association "Food not bombs" we provided them with food and basic necessities, until some of the squats were destroyed 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 it was my duty to make their stories visible. Finally, 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 ground where the gaze wanders in search of meaning.

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artist avatar

Emmanuelle Mason

23 fans

TOULOUSE (31), FRANCE

43 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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