Lulu
£0.00
Sarah-Aurore's artistic practice is situated at the crossroads of drawing, engraving and monotype. The formatting of her drawn works calls for different operations of treatment and manipulation, and crosses questions of injury and memory of images. She uses different techniques that associate the notion of imprint and trace, such as engraving and printmaking. Her works evoke a universe where childhood and old age intermingle. In this colorful universe, the artist pulls the strings of countless figures that are repeated from one print to another, forming the framework of her visual enigmas. She claims a pictorial lesion where the figures ooze, inciting the spectator to question the status of these images. Adept of monotype and drypoint, she uses recycled paper that she will find in flea markets, as well as old silver photographs. At a time when paper is becoming more and more expensive and is subject to ecological issues, it is essential for her to work with paper that already has a soul and a story in its fiber in order to give a second life to this paper and also a second life to these found images. She has never engraved with a press, this economy of means has pushed her to find alternative techniques as to the pressure exerted on the sheet. Each of her engravings is thus engraved from oil sticks, using the underside of the images, she will come to use her matrix as a tracing paper, and will come to push her lines to the back of the photograph, allowing the latent drawing to appear on its support. It is from the covering used in her artistic practice that Lulu tries, with obsession, to make emerge a pictorial memory. Combining the engraving with the fillings of painting, She oscillates between engraving and painting, bringing us back to this famous quarrel of the color : to determine if, in painting, the most important resides in the line or in the color. Finally, these are engravings that want to talk about the condition of ecology of images. But above all, the aging of an image.
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Sarah-Aurore's artistic practice is situated at the crossroads of drawing, engraving and monotype. The formatting of her drawn works calls for different operations of treatment and manipulation, and crosses questions of injury and memory of images. She uses different techniques that associate the notion of imprint and trace, such as engraving and printmaking. Her works evoke a universe where childhood and old age intermingle. In this colorful universe, the artist pulls the strings of countless figures that are repeated from one print to another, forming the framework of her visual enigmas. She claims a pictorial lesion where the figures ooze, inciting the spectator to question the status of these images. Adept of monotype and drypoint, she uses recycled paper that she will find in flea markets, as well as old silver photographs. At a time when paper is becoming more and more expensive and is subject to ecological issues, it is essential for her to work with paper that already has a soul and a story in its fiber in order to give a second life to this paper and also a second life to these found images. She has never engraved with a press, this economy of means has pushed her to find alternative techniques as to the pressure exerted on the sheet. Each of her engravings is thus engraved from oil sticks, using the underside of the images, she will come to use her matrix as a tracing paper, and will come to push her lines to the back of the photograph, allowing the latent drawing to appear on its support. It is from the covering used in her artistic practice that Lulu tries, with obsession, to make emerge a pictorial memory. Combining the engraving with the fillings of painting, She oscillates between engraving and painting, bringing us back to this famous quarrel of the color : to determine if, in painting, the most important resides in the line or in the color. Finally, these are engravings that want to talk about the condition of ecology of images. But above all, the aging of an image.
Sarah-Aurore's artistic practice is situated at the crossroads of drawing, engraving and monotype. The formatting of her drawn works calls for different operations of treatment and manipulation, and crosses questions of injury and memory of images. She uses different techniques that associate the notion of imprint and trace, such as engraving and printmaking. Her works evoke a universe where childhood and old age intermingle. In this colorful universe, the artist pulls the strings of countless figures that are repeated from one print to another, forming the framework of her visual enigmas. She claims a pictorial lesion where the figures ooze, inciting the spectator to question the status of these images. Adept of monotype and drypoint, she uses recycled paper that she will find in flea markets, as well as old silver photographs. At a time when paper is becoming more and more expensive and is subject to ecological issues, it is essential for her to work with paper that already has a soul and a story in its fiber in order to give a second life to this paper and also a second life to these found images. She has never engraved with a press, this economy of means has pushed her to find alternative techniques as to the pressure exerted on the sheet. Each of her engravings is thus engraved from oil sticks, using the underside of the images, she will come to use her matrix as a tracing paper, and will come to push her lines to the back of the photograph, allowing the latent drawing to appear on its support. It is from the covering used in her artistic practice that Lulu tries, with obsession, to make emerge a pictorial memory. Combining the engraving with the fillings of painting, She oscillates between engraving and painting, bringing us back to this famous quarrel of the color : to determine if, in painting, the most important resides in the line or in the color. Finally, these are engravings that want to talk about the condition of ecology of images. But above all, the aging of an image.
