Light house (2024) Design by Jean-Marc Gardeux

Sold by Jean-Marc Gardeux

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This image is available for download with a licence

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$32.57

Media Licence

$130.28

Commercial Licence

$271.43

Max resolution: 2803 x 6806 px

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Sold by Jean-Marc Gardeux

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Original Artwork Design, Luminaire

Artworks classification

Original Artwork

Original Artwork refers to any work that is considered authentic and not a copy or imitation of the original works of an artist. Original artwork can be any type of painting, sculpture, performance, or other media. There are many types of original media. Mixed media includes oil, acrylic, and watercolor paintings. For workshop paintings that bear evidence of master craftsmanship, this attribution must be further qualified. While they may be less valuable for different reasons, reproductions and copies have had a tremendous impact on our experience. They reach a greater audience than originals and act as a tonic against commodification. Original Artwork could also refer to the first work, which is always preceding all others. It could also refer to a prototype or a model from which other works can be made. Each work bears great similarities to the original.
Dimensions Height 82.7in, Width 5.3in
Artwork's condition The artwork is in perfect condition
Categories Designs under $1,000 Abstract Industry

Exemple de lampe en Plexiglas sur mesure et sur demande. Tube Plexiglas, socle en bois, armatures métal, intérieur en papier japonais. Toutes mes lampes sont réalisées avec une partie de matériaux de récupération. Cela leur confère un caractère d'unicité, mais aussi qu'une commande ne pourra être réalisée à l'exact identique.

Jean-Marc Gardeux

France

Jean-Marc Gardeux lives and works in Paris. His parallel or intersecting lines over the degrees of the rapporteur evoke rationality and abstraction, like geometry and mathematics. Through his canvases,[...]

Jean-Marc Gardeux lives and works in Paris.

His parallel or intersecting lines over the degrees of the rapporteur evoke rationality and abstraction, like geometry and mathematics. Through his canvases, he seeks to give an impression of movement thanks to the veiling of a symmetry that is indirectly visible but which offers the reflective illusion to the viewer.

Whether they are oil paintings, acrylic, or volumes, he traces, since his first works, fine, wide, straight, slanted lines, in color or black and white which respond to each other in a minimalist construction. Construction elements that we find in his sculptures where wood, metal or glass come together. His work, which combines precision with great freedom of execution, is always determined by the search for what he calls the illusion of symmetry. Thus, the spectator can avert his gaze, branch off in his reflection to grasp this illusion.

By making the invisible visible, and vice versa, he questions our relationship to perspective and more broadly to stability in movement, transparency in depth, space in detail and a more or less light presence of time.

This meeting between the intuition of the artist and that of the spectator, through their forms, triggers complicity and a shared vision of the world. Giving an impression of movement on a canvas is a bit like the holy grail of the painter.

After studying scenography and video at the École Nationale Supérieure des Arts Décoratifs in Paris, he created several sets for the theater and musical scenographies. He also worked as a camera reporter and shot numerous documentaries, which allowed him to always be as close as possible to the image and its movement. He also met many painters, including members of the Constructivism and Movement (CO-MO) group united by geometric abstraction. Among them: Jesus Soto, Romano Zanotti, Carlos Cruz-Diez, Cesar Andrade were models in his discovery of a kinetic art built on repetitions of form.