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Emmanuelle Vroelant"January on the foreshore" abstract acrylic , marble, sand, 140x80cm.2023
2023
$4,941.42
$6,176.7720% Off
£3,704.21
£4,630.2620% Off
€4,160
€5,20020% Off
CA$6,832.74
CA$8,540.9320% Off
A$7,436.65
A$9,295.8120% Off
CHF 3,973.88
CHF 4,967.3520% Off
MX$89,806.31
MX$112,257.8820% Off
NOK 49,941.92
NOK 62,427.4020% Off
SEK 46,451.79
SEK 58,064.7420% Off
DKK 31,698.70
DKK 39,623.3720% Off
About the Item
« January in Brittany, a peaceful atmosphere of grey and beige, a real harmony, beautiful if you are not sad because it takes an effort to look at the beauty of the foreshore in winter. This augurs sumptuous gifts that are the light and colors of the days that will follow it. »
This work immediately stands out as a physical exploration of the landscape, situated on the subtle border between informal abstraction and the sensory memory of a place. We perceive a resolutely materialist approach where the pictorial surface is not simply covered but truly constructed by a complex stratigraphy. The artist worked on the thickness, probably alternating the use of a knife and scraping to reveal the underlayers, thus mimicking the natural processes of erosion or the wear and tear of the rock.
The palette, deliberately retained in a mineral and organic register, orchestrates subtle dialogues between chalky whites, umber and pale ochres. This economy of chromatic means leaves all the room for the vibration of the light, which does not seem to come from an external source but emanates from the material itself, especially in this upper part treated in vaporous transparency. Deep black graphic intrusions function here as visual anchor points; they structure the space and exacerbate the brightness of the bright areas by contrast, preventing the composition from completely dissolving into the ethereal.
The spatial organization remains faithful to a classical horizontality, suggesting the layering of the planes without imposing a linear perspective. The horizon is suggested rather than traced, losing itself in a pictorial mist that merges sky and earth. The whole thing exudes an impression of monumental silence and suspended moment, a modern reinterpretation of the sublime where the nervous touch captures the essence of the elements — the wind, the salt, the cold — without ever needing to sink into literal description.
By lingering on the mechanics of the gesture, we can guess an attack on the web that refuses the easy seduction of the "licked". The ductus here is nervous, probably engaging the entire arm rather than just the wrist, suggesting a physical, almost sculptural execution. We feel the authoritarian use of rigid tools — wide knives, spatulas or scrapers — which crush and stretch the dough to create these "flayed" beaches. There is a clear desire to let the material resist: in places, the paint seems to have been pulled to the point of exhaustion on the grain of the canvas or on the roughness of the lower layers, creating those effects of rupture and lack that make the surface vibrate
- Creator:Emmanuelle Vroelant (French)
- Creation Year:2023
- Dimensions:Height: 31.5 in (80 cm)Width: 55.12 in (140 cm)Depth: 1.19 in (3 cm)
- Medium:
- Movement Style:
- Period:
- Framing:Framing Options Available
- Condition:
- Gallery Location:Saint Pol de Léon, FR
- Reference Number:1stDibs: LU1501211861722
Emmanuelle Vroelant
Born in 1952, Emmanuelle Vroelant has been living and working in Roscoff, Brittany since 2006. Despite a real attraction for artistic creation, her parents encouraged her to study. After graduating in psychology, she leaves to discover the world and it is far from the family weight that she gives life to her first child. She moved to Vanuatu where she met artist Juan Roderta and journalist Alphonso Colondro. These two men allow a real questioning of the artist who discovers the need to paint. On her return to Paris, she opened her first studio in 1981 and ended up exhibiting in 1985, 86, 88 and 89 at the Grand Palais Autumn Show, allowing her to start an international career.After two years of illness, Emmanuelle lost her inspiration and opened a psychoanalyst practice in Paris, where she practised art therapy. In 2006, she left her Parisian life to settle in Brittany, which allowed her to regain a creative energy. At the request of collector Michel Chamming’s, Emmanuelle successfully exhibited in Paris in 2009. During the inauguration of a New York gallery, she meets Jean-Claude Reumont who offers her to represent her for China. Today, Emmanuelle Vroelant’s works are present in the United States, China and France.
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