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La Danse Macabre (2023) Drawing by Le Scriptorium De Cassiodore

Ink on Paper, 23.6x31.5 in
$5,948.96
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  1125 px  

1500 px
Dimensions of the file (px) 1125x1500
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One of a kind
Artwork signed by the artist
Certificate of Authenticity included
Ready to hang
This artwork is framed
Mounted on Wood Stretcher frame
  • Ink on Paper
  • Dimensions 35.4x39.4 in
    Dimensions of the work alone, without framing: Height 23.6in, Width 31.5in
  • Artwork's condition The artwork is in perfect condition
  • Framing This artwork is framed
  • Categories Esotericism
Triptyque réalisé sur le poème de La Danse Macabre de Charles Baudelaire, agrémenté de dessin de gravure de Danse Macabre et de feuilles de cuivre. About this artwork: Classification, Techniques & Styles. Ink. A strongly tinted liquid or paste that is used to mark paper or other printable materials. The design is done manually with a slab, feather, [...]
Triptyque réalisé sur le poème de La Danse Macabre de Charles Baudelaire, agrémenté de dessin de gravure de Danse Macabre et de feuilles de cuivre.

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Having an artist father, an engraver and calligrapher, showed me the way from a very young age. I still the smell of the ink, the sound of the pen on the paper, the suppleness of the leather, the precision [...]

Having an artist father, an engraver and calligrapher, showed me the way from a very young age. I still the smell of the ink, the sound of the pen on the paper, the suppleness of the leather, the precision of the gestures. His workshop was my playground. For my eighth birthday, he gave me my first calligraphic pen which accompanied a textbook on Gothic letters. A thunderbolt. My first love. They crystallize all the writings for me. They can be straight and severe, round and soft, angular and jerky. They allow rigor as well as extravagance, they are writing as much as abstraction. My artistic curiosity was sharpened during my studies at the Beaux-Arts in Tournai, in Belgium, where from 2001 to 2006 I learned to look at the world, to think and to grasp the essential. Calligraphy imposed itself on me again, as if it were obvious. I then let my imagination run free, I worked on the gesture, which must be precise and rigorous, in particular by transcribing the Apocalypse according to Saint John. This text corresponded to my universe, which flourishes around metal culture. I have always intimately mixed music and creation, the first being the salt of the second. I also focused on the work of Baudelaire, a poet who has become in some ways the keystone of my work.

     If my professional career has been varied and has apparently moved away from calligraphy (I opened a tea room in Bruges then came to settle in Brittany), it has always been present in my daily life, until the crisis we are going through proved to me that it was time to replace my life as an artist at the heart of my concerns. This break time allowed me to define my priorities, to really reflect on art, and above all to legitimize my practice.

     Over time my vision of calligraphy has evolved, she sharpened herself. As it matured, it became modernized. Far from denying the legacies of the past (I continue to appreciate classical work, between illuminations and letters), I experience it today as a dance, a gesture, a harmony between Meaning and the Senses. I vary it according to my visions, according to my desires.

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