Drawing titled ""O" abécédaire russ…" by Baptiste Vanweydeveldt, Original Artwork, Graphite

"O" abécédaire russe-2004 (2004) Drawing by Baptiste Vanweydeveldt

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Original Artwork Drawing, Graphite / Marker on Paper

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 11.7in, Width 8.3in
Categories Drawings under $500 Figurative

La lettre "O" comme un point d'origine, accepter de d'être sur cette instant, sur un face à face avec soi, le soi pour soi et pour les autre... Considérant que nous ne pouvons nous envisager complètement , m^me dans un miroir, nous obtenons que l'image inversée, reflétée de nous même, souvent en pose devant nous-même... Nous nous échappons...

qui plus est la primauté étant le plus souvent celle de la vue, nous avons parfois l'envie de s'arrêter à celle-ci...

Dans le voyage, il y a la fonction de survie qui,dans le cerveau, se met en route... Il y a notre instinct qui se met en marche...
On sent, on observe les moindre signe (surtout lorsque la langue nous échappe...) , On capte le regard et les geste de notre interlocuteur, on est vif, à vif...

Corps poreux, médium de tant de sensations et de signes...Quel question immense, qui se déploie à chaque instant... qui se liquide dans le monde, Je pense donc j’essuie...
Baptiste Vanweydeveldt,2019

About this artwork: Classification, Techniques & Styles

Graphite

Black and white drawing made with a pencil, an instrument made of a small wooden stick used as a sheath for a graphite mine of the same length.

Marker

Drawing made using a large felt with its own ink source. The ink may or may not be indelible.

Figurative

Figurative and colorful painting having taken the liberty of including all forms of art without border of cultural genre and geographic origin, without hierarchy of values between high and subculture.

Technic Drawing

Drawing is a technique of visual representation on a flat support. The term "drawing" designates both the action of drawing, the resulting graphic work, and the shape of any object. It is also a representation on a surface of the shape (and possibly the light and shadow values) of an object or figure, rather than their color. There are a large number of drawing techniques: “Linear drawing” represents objects by their outlines, edges and some characteristic lines; beyond this limit, the drawing develops by representing the volume by shadows, often by means of hatching, incorporates colors, and joins, without clear transition, the painting.

Baptiste Vanweydeveldt

France

Visual artist, born in 1978 in Lille. currently lives in Caen, France.

I situate my work between a laboratory of forms (search for volume through drawing, painting and sculpture) and a tendency towards DIY (recycling of found objects and materials, transformation of their uses, reinvestment of their signs and questions about their subjects). I approach several mediums at the same time in order to extend the creative process to other fields of research: anthropology, natural sciences, etc.
The pooling of the two works like a small world with its own energy flows.
Usually I start with a series of sketches, notes and diagrams. I also rely on my reading, on a lot of images, which I feed on with bulimia. I exhaust their meanings until there is emulsion. This may explain the dreamy but also saturated appearance of my installations. Without cultivating a pessimistic view of the world, despite everything, I question our future through figures that are close to us, towards an imaginary that I wish to be collective; it is an opening onto a composition with multiple perspectives.
My recurring themes are environmental around the domus (house, private sphere/public sphere, hospital, etc.) and the extended living, according to a spatial questioning centered on the flow of energies, on magnetism and a set of enigmatic correlations.