Christophe Stouvenel

Why - Blue Version

2018

Why - Yellow Version - 2018 KIKI "has a predilection for the use of supports and mediums resulting from urban art: it combines stencil work, staging and collage of torn posters, the ...

Christophe Stouvenel "KIKI" - WHY - Red Light Version - 2017 Stencil with spray can on a canvas frame. Signed Kiki at bottom right Dimensions: 50 x 61 x 1 c...

Cut out stickers, stick stickers and drop ink spots "... This is comment Christophe Stouvenel said" KIKI "defines his series No sense. Surrealist inspired by...

Freedom is probably what characterizes the most "Kiki" or Christophe Stouvenel: collage, acrylic, aerosol can, on signs, old posters recovered or even a fo...

TRENITY THOMAS is a self-taught photographer who has also experimented with painting and sketching since grade school. As a photographer, he has worked in a myriad of genres including fashion, lifestyle, editorial, conceptual, sports, portraiture, and nightlife photography. As a photographer, Trenity uses his camera to capture the life and composition of still life around him. His photographs have a warmth to them that pulls the viewer into the scene as if they were present - a feature that has become characteristic of his photographic style. Trenity Thomas has been in various juried exhibitions, most recently, JONATHAN FERRARA GALLERY's 24th Annual NO DEAD ARTISTS International Juried Exhibition of Contemporary Art and the Louisiana Contemporary juried exhibition presented by The Helis Foundation at the Ogden Museum of Southern Art in New Orleans, Louisiana. His photographs have also received international attention when they were chosen for exhibition in photovogue, a prestigious collection of photographs...

"Blue" is a painting created by Enrico Benetta in 2014. The artwork is part of a series of monochromatic square canvasses created each in one of the primary colors. The painting come...

“It is terrifying to paint. When you start out, you are faced with this great unknown. And you think, am I ever going to paint again? Yet, as you work, it starts to formulate itself. Ultimately every work really just decides itself. I love to paint. I love the smell of paint (oil) and the way it does different things depending on how you apply it. I love how if you use a lot of turpentine, it forms these rivulets like streams in the desert. Acrylics just can’t match the intensity or viscosity of oils. In early days, I painted landscapes and portraits, but I tried to infuse them with my own nomenclature. The colors, brushstrokes, and marks that I put on a canvas transfigure into a profound sensibility that I cannot deal with in any other way. And color is a way of expressing my emotions, and the way it is planted in my works helps tell the story. When I was a boy I drew incessantly. I had sheets of paper roughly 10 by 15 inches, and I covered them with Civil War soldiers. Literally hundreds of them, each drawn with the same delicacy as if they were alive. Later I advanced to WW2, with German soldiers attacking the well-meaning but hapless British, grey against ochre, tanks and explosions, and beautiful landscapes where it happened. As I became older, I wondered what it was that had so intrigued me with these war scenarios. I became fascinated with the symbols, icons and pictograms that were behind these historic conflicts. They had a substance and meaning for me that far outweighed their prescribed meaning. A cross meant Christianity, but in the films of Sergei Eisenstein, there was a distinction between the Teutonic knights with their iron helmets invading the Russian orthodox warriors to the east. A cross could mean many things, we bow down before a cross, but are repulsed by a swastika. Yet they are related. If you cut the corners of a circle with a cross bisecting it, an early Christian icon...

Gouache on paper Unique work Hand-signed lower right by the artist