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Sans titre (rose) (2020) Printmaking by Modely Thibaud

Printmaking on Paper, 27.6x19.7 in
$178.71
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This artwork appears in 1 collections
  • Digital Print on Paper
  • Number of copies available 1
  • Dimensions Height 27.6in, Width 19.7in
  • Artwork's condition The artwork is in perfect condition
  • Framing This artwork is not framed
  • Categories Colorful
About this artwork: Classification, Techniques & Styles. Technic Printmaking. Printmaking was originally used to communicate. Exceptional technical characteristics make it a valuable artistic medium. The artist creates an image on a flat surface to make a print. To create an original print, the artist inks the surface and presses it onto paper. Printmaking [...]
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« A la recherche d’une simplicité évidente, je me suis rendu compte que seule la complexité était intéressante. Le travail d’élaboration réside dans un travail long et intense, il faut sans relâche croquer, dessiner, [...]

« A la recherche d’une simplicité évidente, je me suis rendu compte que seule la complexité était intéressante. Le travail d’élaboration réside dans un travail long et intense, il faut sans relâche croquer, dessiner, voler, piller, coller, taguer, photocopier, déchirer… Le travail de création n’est quant à lui qu’une parcelle de soi, le millième d’un court temps qui t’est accordé. Le saisir te force à faire le funambule au dessus d’un volcan. C’est dangereux et difficile mais tellement beau. »

Se définissant comme un peintre moderne, il parcourt un monde contemporain mêlant matières nobles et banales, il invite le spectateur à se perdre dans ses chimères: paysages urbains, champêtres et forestiers forçant le regard à fouiller la végétation luxuriante qui s’offre à lui, même dans les endroits les plus austères et froids.

Il donne une place importante à la nature par une colonisation florale sur le monde industriel. La pureté et la singularité de ses arbres et dessins résident dans la volonté de les immortaliser, et de leur donner les premiers rôles dans nos actuels modes de vies sans pour autant rejeter le confort propre à chacun. Il tient à sacraliser la nature tout en respectant sa propre religion. Ainsi la dominance de noir n’évoque pas une tristesse enfouie mais le souhait de donner une impression de vitrail pour mettre en évidence de façon paradoxale le rôle secondaire généralement attribué à la lumière. Il magnifie la nature en la sacralisant au rang d’icône, nous offrant une peinture à la limite de l’animisme et des cultes anciens.

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