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Delphine RocherLa Mer est calme2023
2023
$1,536.83
£1,157.08
€1,300
CA$2,121.06
A$2,376.06
CHF 1,238.14
MX$28,982.99
NOK 15,733.95
SEK 14,835.99
DKK 9,896.90
About the Item
Immerse yourself into this delicate painting from Delphine Rocher, with such magnificent colors .
The title only serves as a door to your imagination ...
Signed by the artist at the back .
Can stay unframed as borders are fully painted
Delphine‘s paintings are concerned with the interaction between humankind and his landscape, his role as an actor, his relationship to space, his status as a spectator. She enjoys exploring these transparencies. Her paintings brilliantly captures the nonchalance in one’s gestures, a timeless ambiance, which entreats you to open your imagination.
Oil is her go-to medium, as she is fascinated with the chemistry-element involved in blending and crafting new colors. Her paintings are an invitation for contemplation, but also to introspection. An ode to avoidance, to departure, to risk, to imbalance, but also a refuge. They finally offer us to observe.
- Creator:Delphine Rocher (1972, French)
- Creation Year:2023
- Dimensions:Height: 28.75 in (73 cm)Width: 19.69 in (50 cm)Depth: 0.79 in (2 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:PARIS, FR
- Reference Number:1stDibs: LU2840215744052
Delphine was born in Versailles, France (1969), which is also refered to as the cradle of the French touch. She studied art and graphic design at Atelier d’art Roederer, and has a bachelors degree from L’École Supérieure des Arts Appliqués Duperré. She is working in graphism and is affiliated at La Maisons des Artistes since 1991 In 1997, she co-founded Zaoum , an agency for graphism creation. Delphine had very few exhibitions and is coming out fresh and mature. "I like to navigate between small formats that require precision and restraint, and large formats on canvas and a work of breadth, depth, material. The polyptychs also favor the horizon and suggest continuity.
I also like mixing techniques, pushing them to the limits, contradicting them. The inks, but also the pen, the black stone, my little press, the stamp sheets "
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