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Emmanuelle MasonLe bois, eau forte sur cuivre, épreuve d'état, encrage simultané jaune

Prints
One of a kind work
40 W x 30 H cm
$383
Recipient of the dedication:

$29 Shipping (France)
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Technique
Woodcut
Type
One of a kind work
Material
Paper
Dimensions
40 W x 30 H cm
Framing
No
Quality Guarantee
Sold with a certificate of authenticity

"This etching is part of a process of destruction of the plate by acid baths. This print is a monotyped state print in yellow tones (therefore unique), created from a first state of the etching before it undergoes a progressive disappearance. The following prints will be printed with oxidized copper, that is to say from the remains of the process itself. Here, I proceeded to a simultaneous inking, and I played with the transfer of the image by the inking process on the surface of the engraving. This singular inking allowed me to create a second ghostly apparition within the image. It evokes a landscape inhabited by a human apparition (a little girl?), showing the mesh between the living human and non-human."

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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