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Sa majesté des mouches I

$471
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Prints
One of a kind work
32 x 25 cm
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Technique
Woodcut
Type
One of a kind work
Material
Paper
Dimensions
32 x 25 cm
Framing
No
Quality Guarantee
Sold with a certificate of authenticity

This engraving was made using the technique of etching on copper plate and burin. It works as a diptych with "His Majesty of the Flies II" but can also be displayed alone. The paper measures 20x30 but the bowl 15x20 cm. The fly has always been present in the history of art. It is a model of choice for the painter because it offers a texture and a degree of delicacy that gives him the opportunity to show his skill. Many Quattrocento paintings show a virtuously painted fly, which the viewer tries to chase, confused by the painter's technique. Daniel Arasse, in "Le détail", tells us "that Giotto, still young and in Cimabue's studio, once painted a fly on the nose of a figure made by Cimabue that was so real that the master, going back to work, tried several times to chase it away with his hand; he believed it to be real until he understood his illusion. [...] By the mid-16thᵉ century, the fly was a pictorial motif that had enjoyed good success between the mid-Quattrocento and early-16thᵉ centuries. It can be found in many forms: whether integrated into the composition, painted on the edge of the picture, or as if placed on the surface of the painting, or whether these devices are combined, the list of painted flies is far from closed. " - Daniel Arasse, The Detail. For a closer history of painting - Thus, this motif of the fly interests me because of its plastic richness, but also because it allows me to create a work whose facture and iconography are opposed: this engraving is both delicate and trashy, sensitive and coarse... The flies swarm within the representation, they seem to agitate under our gaze, while they also have a vanity function. The line is voluble, the engraving ink seems to stick to the eye. It seems to me that we can almost hear them when we contemplate the engraving. The emptiness and the fullness answer each other from one engraving to the other. The title is borrowed from William Golding's novel, Lord of the Flies. This novel depicts a very dark vision of human nature and the social contract, and I must admit that the fly motif also appeared to me as a critical metaphor of the present world.

artist avatar

Emmanuelle Mason

67 fans

Toulouse (31), France

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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