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Arbre-nid.Or (2023) Printmaking by Pascale Aurignac

Printmaking on Paper, 23.6x15.8 in
$436.2
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Fine art paper, 12x8 in
Artwork signed by the artist
Certificate of Authenticity included
  • Engraving on Paper
  • Number of copies available 6
  • Dimensions Height 23.6in, Width 15.8in
  • Artwork's condition The artwork is in perfect condition
  • Framing This artwork is not framed
  • Categories Forest
Cette gravure est issue de mes dessins d’observation de cette construction suspendue chez moi plusieurs semaines. Cette installation à base d'un réel arbre mort retourné a été conçue et réalisée par mes enfants artistes. Mettre en lumière les délaissés du monde naturel. L'Arbre-nid est une gravure sur zinc en 2 plaques, format 25x38cm, imprimée sur [...]
Cette gravure est issue de mes dessins d’observation de cette construction suspendue chez moi plusieurs semaines. Cette installation à base d'un réel arbre mort retourné a été conçue et réalisée par mes enfants artistes.
Mettre en lumière les délaissés du monde naturel.
L'Arbre-nid est une gravure sur zinc en 2 plaques, format 25x38cm, imprimée sur papier Laurier 250gr/m2 format 40x60cm.
J'ai gravé la plaque du dessin à la pointe sèche, en gravure directe.
La plaque du fond a été réalisée en aquatinte.
Cette estampe existe en 3 fonds de couleurs différentes: fond or, fond rose, fond bleu.

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Pascale Aurignac is a French artist, drawer and painter born in 1963. She's now living in her studio in Montaigu (Jura, ). . Painting and drawing (with pencil or graphite powder) have been the basis [...]

Pascale Aurignac is a French artist, drawer and painter born in 1963. She's now living in her studio in Montaigu (Jura, ). 

Painting and drawing (with pencil or graphite powder) have been the basis of her artistic practice. Always curious about materials, their association and resonance, she then explored other techniques, such as collage, sewing on paper, prints, monotype, embossing, insertion of photographs, zinc engraving. Pascale Aurignac is always in search of technical discoveries because they offer her new possibilities of creation. Sometimes the technique induces the creation, sometimes the creation requires a new technique.

These last years, her research is oriented on the correlation between the material/mediums and the or its absence, the resonance between the plastically realized surfaces and those left blank in suggestive link with nature and her look at the world. She works mainly without a paper , with a technique that consists in pouring several layers of paint one on top of the other, up to twenty, on which she lets her imagination run wild, most often inspired by nature. 

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