![Painting, Équilibre illusoire 60-2020, Françoise Utrel](https://media.artsper.com/artwork/2189919_1_s.jpg)
Équilibre illusoire 60-2020
Françoise Utrel
Painting - 120 x 90 x 2 cm Painting - 47.2 x 35.4 x 0.8 inch
€3,000
Painting : oil
70 x 50 x 2 cm 27.6 x 19.7 x 0.8 inch
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Type
Unique work
Signature
Hand-signed by artist
Authenticity
Sold with certificate of Authenticity from the artist
Invoice from the gallery
Medium
Painting: oil
Dimensions cm • inch
70 x 50 x 2 cm 27.6 x 19.7 x 0.8 inch Height x Width x Depth
Support
Framing
Not framed
Tags
Artwork sold in perfect condition
Artwork location: France
Inspired by "Ginevra da Benci" by Leonardo da Vinci.
About the seller
Galerie Séraphine • France
Artsper seller since 2021
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ILLUSIONARY BALANCES
Françoise Utrel uses the mineral as a metaphor for our humanity. Mineral matter seems immutable, but it is the result of violent geological upheavals and long periods of erosion. Its apparent solidity does not protect it from imbalance. In her paintings, Françoise Utrel stacks masses in an uncertain manner, suspends them by a thin wire stretched to the extreme on the edge of rupture, or balances them on a simple illusion or even in a state of impossible levitation. Only the immobility of his images on the canvas or the power of the imagination allow us to believe that the next moment will not be an inevitable fall and that there remains possible to resist. These are poetic states of suspensions or levitations made possible by the strength of links and the support of light.
IMPERMANENCES
At the same time, Françoise Utrel continues to explore this notion of fragility, but according to a very different process. She chooses famous portraits from art history. She begins by copying them, then alters their perception by superimposing layers of material. Made like palimpsests, these “Impermanences" bring us face to face with the image of these women and men who lived centuries ago, but who continue to look at us through the thickness of time. This in no way altered the strength of their presence nor the intensity of their gaze. The centuries have passed, but they are still there, silent, both near and far, present and gone. Thus a whole series of views are superimposed, amalgamated and questioned: theirs, that of the painter of these portraits, that of Françoise Utrel and finally that of today's viewer. They confront us with the fragility of all life.
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