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Pierre Morquin"Shredded" abstract acrylic on wood 80x120cm 20192019
2019
$2,379.57
$2,974.4620% Off
£1,781.11
£2,226.3920% Off
€2,000
€2,50020% Off
CA$3,268.40
CA$4,085.5020% Off
A$3,654.47
A$4,568.0920% Off
CHF 1,916.92
CHF 2,396.1520% Off
MX$44,264.39
MX$55,330.4920% Off
NOK 24,197.36
NOK 30,246.7120% Off
SEK 22,860.66
SEK 28,575.8320% Off
DKK 15,226.58
DKK 19,033.2220% Off
About the Item
In his painting "Shredded", Pierre Morquin explores the notions of destruction and creation. On a wooden palette, the artist glued pieces of painted cardboard, then tore them up. The result is a colourful, fragmented patchwork that evokes both violence and beauty.
The bright, acidic colours of the painting create a sense of energy and dynamism. The jagged shapes suggest the fragility of life and the impermanence of art.
This painting can be interpreted in different ways. It can be seen as a metaphor for a consumer society that constantly produces and destroys. It can also be interpreted as a reflection on artistic creation, which is often a process of destruction and reconstruction.
Pierre Morquin invites us to reflect on destruction and creation in this abstract painting, with its bright colours and jagged shapes.
- Creator:Pierre Morquin (French)
- Creation Year:2019
- Dimensions:Height: 31.5 in (80 cm)Width: 47.25 in (120 cm)Depth: 1.97 in (5 cm)
- Medium:
- Movement & Style:
- Period:
- Framing:Framing Options Available
- Condition:
- Gallery Location:Saint Pol de Léon, FR
- Reference Number:1stDibs: LU150129863702
Using different techniques (acrylic, spray, oil pastels, charcoals) and supports (coated canvas or not, assembled wood) I trace my path between abstract expressionism, a decisive Aboriginal inspiration, modern influences, urban and my youth in Africa. It is a set of contemporary painters who, through Hélène Frankenthaler, Cy Twombly, Basquiat, Kikuo Saito to Oscar Murillo, Joe Bradley, Ida Ekblad, André Butzer..., inspires me. When I paint I make incursions into my reason, my knowledge and then I let myself be carried away by shapes, colors and emotion. The painting then comes of itself, a form by leading to another, a color by calling another until an imbalance of tasks and traits speaks to me and finally satisfies (but momentarily...) the hope that creation has generated in me.
As the idea is and remains intuitive, the artist is not aware in abstracto of the intention and purpose of his work: it is not a concept, but an idea that guides him: so he cannot give any explanation of his way of doing things: he works, as we say unconsciously, actually instinctively.”
Schopenhauer, The World as Will and Representation
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