Plutôt Crabe (2023) Painting by Aurélie Quentin

Sold by Aurélie Quentin

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Portrait d'une fille dans un bar de plage. Derrière elle, deux mecs semblent délaisser un instant la piste de 421 posée sur le bar. La lumière qui passe au travers des voiles orangés, jaunes et ocre réchauffent l'atmosphère fraiche de cet hiver austral. Cette toile fait partie d'un dyptique, la même scène à deux moments et points de[...]
Portrait d'une fille dans un bar de plage. Derrière elle, deux mecs semblent délaisser un instant la piste de 421 posée sur le bar. La lumière qui passe au travers des voiles orangés, jaunes et ocre réchauffent l'atmosphère fraiche de cet hiver austral. Cette toile fait partie d'un dyptique, la même scène à deux moments et points de vue différents. Celle ci se différencie par le crabe sirotant un soda en néon rose au fond du bar.

Portrait of a girl in a beach bar. Behind her, two guys seem to leave the game of dice placed on the bar for a moment. The light passing through the orange, yellow and ocher veils warms the cool atmosphere of this southern winter. This painting is part of a diptych, the same scene at two different times and points of view. This one is differentiated by the crab sipping a soda in pink neon at the back of the bar.

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BoisSoleilFunFunnyAfrica

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Aurélie Quentin, a French artist with Italian and Russian roots, was born in 1984 and spent her formative years on the tropical island of La Réunion, near South Africa.[...]

Aurélie Quentin, a French artist with Italian and Russian roots, was born in 1984 and spent her formative years on the tropical island of La Réunion, near South Africa. After obtaining a degree in Architecture in Paris, she redirected her creative expression towards painting, particularly using large figurative portraits as her canvas. Aurélie Quentin's chosen medium, oil painting, becomes a conduit for portraying a rebellious and diverse youth set against urban and often tropical backdrops.

Her work is enriched by the vibrant kaleidoscope of tropical colors, the raw intensity of light, and the delicate nuances it brings forth. Quentin's art captures the essence of everyday life, showcasing moments of leisure that are elevated and immortalized on canvas. Within her compositions, there is a subtle incongruity—a critical commentary on the standardization of taste.

Aurélie Quentin deliberately selects models that embody multiracialism, considering it the epitome of human beauty, a characteristic abundantly present in Reunion Island. Her subjects, set in "everyday life" scenes, emanate a sense of self-awareness, engaging in a dialogue with the observer. Their attitudes exude a hint of disdain and irreverence, conveying a sense of living in the moment, free from societal expectations. The nonchalant poses, though potentially perceived as provocative, serve as an homage to the comfort of the present moment, challenging outdated norms of decency.

In Quentin's artistic narrative, her characters embrace the art of doing nothing—a concept once celebrated by philosophers throughout history but now taboo in a world dominated by productivity. Her paintings serve as an allegory of unapologetic leisure, portraying a youth that defies societal pressures and embraces the simplicity of happiness. Through the strokes of her brushes, Quentin immortalizes a "state of being" that reclaims nobility for moments of idleness—the very time that births activity, innovation, and creation, allowing individuals to break free from the constraints of a productivist societal dogma.

Contemplating Aurélie Quentin's work invites viewers to reflect on the right to leisure, the right to lightness, and the value of "lost time" in a world consumed by constant motion and productivity. Her art becomes a visual manifesto, encouraging a reconsideration of the importance of embracing moments of repose and reflection in the pursuit of a more fulfilling existence.

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