L'équilibriste / The unicyclist (2021) Painting by Émilie Pauly

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  • Original Artwork (One Of A Kind) Painting, Gouache on Cardboard
  • Dimensions Height 19.7in, Width 16.1in
  • Artwork's condition The artwork is in perfect condition
  • Framing This artwork is not framed
  • Categories Naive Art Fantasy
Gouache sur carton. Dans une forêt enchantée, une créature imaginaire (un équilibriste espiègle) parade sur le flanc d'une montagne, tout en portant sur son dos une famille de lapins blancs et, sur sa tête, dans un pagne rose, un petit oiseau tranquille. Celui-ci est-il en fait aux commandes de l'équilibriste ? Ce tableau est[...]
Gouache sur carton.
Dans une forêt enchantée, une créature imaginaire (un équilibriste espiègle) parade sur le flanc d'une montagne, tout en portant sur son dos une famille de lapins blancs et, sur sa tête, dans un pagne rose, un petit oiseau tranquille. Celui-ci est-il en fait aux commandes de l'équilibriste ?
Ce tableau est une métaphore de la vie et de la famille. On maintient l'équilibre aussi longtemps qu'on le peut mais la vie est un cirque rempli de couleurs, de surprises, et on évolue toujours sur un fil, comme des funambules. Nous sommes en fait tous des équilibristes ! La créature imaginaire sur le monocycle est une créature à trois "têtes", formant ce tout qu'on appelle la famille : le premier personnage est directement en équilibre sur les roues. Il sourit et semble être le garant de l'équilibre familial. Sur sa tête, un second personnage apparaît : un visage féminin portant des boucles d'oreilles. S'agit-il d'une mère ? Ses pensées en tout cas semblent tout entières tournées vers le petit oiseau, aux commandes de son esprit.

Gouache on card.
In an enchanted forest, an imaginary creature (a mischievous unicyclist) parades on the side of a mountain, carrying on his back a family of white rabbits and, on his head, in a pink loincloth, a quiet little bird. Is the bird actually at the unicyclist's controls?
This painting is a metaphor for life and family. We maintain our balance for as long as we can, but life is a circus full of colours and surprises, and we're always walking on a tightrope. In fact, we're all tightrope walkers! The imaginary creature on the unicycle is a creature with three "heads", forming a whole that we call the family: the first character is balanced directly on the wheels. He smiles and seems to be the guarantor of the family's equilibrium. On his head, a second figure appears: a female face wearing earrings. Is it a mother? In any case, her thoughts seem entirely focused on the little bird, in control of her mind.

Related themes

Peinture D'équilibristePeinture De MonocyclePeinture De CirquePeinture De Monde ImaginaireTableau Fantastique

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A self-taught artist, I started painting around ten years ago, shortly after my son was born. What led me to painting? Essentially the need to escape a boring working life, to reconnect with my childhood[...]

A self-taught artist, I started painting around ten years ago, shortly after my son was born.

What led me to painting? Essentially the need to escape a boring working life, to reconnect with my childhood dreams at a time when I'd lost my way, and the desire to bring fantasy to everyone (young and old). I was fascinated by the magnificent illustrations I'd discovered in the children's books I'd read to my son, and I'd wanted to create my own images, my own paintings, that would tell the story of my inner world, my dreams, my fantasies, my ideals. I wanted to paint what moved me so that I'd never forget it, so that I'd have a memory of it that I could pass on and communicate.

When I create characters in pencil, I never know in advance what I'm going to draw. I let my hand go and then I see what appears. I like not knowing where my gesture is going to take me. I like to be surprised by what emerges from the first strokes of my pencil. I have the pleasant impression of accessing something of myself that had been lost (in my subconscious or in my distant memories, who knows?).

When I've collected a large enough number of pencil drawings, I look for the ones that could be put together in the same scene, the characters who could have adventures together in the same painting. I spend a lot of time creating these compositions. Once I've worked out which characters have something to say to each other and what setting they could be in, I start painting. I always paint my background first (a natural landscape) and then insert my characters. Everything is done in gouache.

Painting and drawing seemed to me to be more reliable means of expression than texts and speeches. As a linguist by training, I spent a long time working on words and the construction of meaning when I was preparing my doctoral thesis. The polysemy in languages can be so dizzying! Although I'm always sensitive to the poetry of literary works and the beauty of well-crafted arguments, I'm now less moved by them than by the poetry or beauty of images. Words, sometimes misleading or a source of misunderstanding, never colourful enough or on the contrary too saturated, can't do everything. When we no longer know what to say or how to say it, when words fail us, when silence imposes itself, painting, sculpture, music or dance can take over, for the pleasure of all.

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