Drawing titled ""M" abécédaire russ…" by Baptiste Vanweydeveldt, Original Artwork, Ballpoint pen

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

Original

Not For Sale

Seller Baptiste Vanweydeveldt

Certificate of Authenticity included

This artwork appears in 1 collections

Original Artwork Drawing, Ballpoint pen / Other / Charcoal / Graphite 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 Outsider Art

Ce feuillet peut-être aussi considéré comme le début d'un nouveau cycle. Treizième lettre de cet abécédaire qui correspondrai au "M"... et que voit-on ? Une carte information , un schéma d'implantation de composants qui fonctionneront entre eux grâce aux pistes déjà pré-écrites grâce à cette carte-mère... Comme si depuis le début , nos facultés d'être se sont fortifiés grâce à une implémentation d'amour de soi et de regard considérant notre toute capacité à être...
Comme si l'effort que l'on fait pour franchir les plus grands seuils de montagnes, n’était que le résultat d'une attention première qui nous a bercer, déjà en intra-intérin ... cette force de l'homme qui viens de l'écoute de la montagne...
Oublier qu'il y a une mer à boire jamais si...
Je me rappelle dans les voyages , il y a des situations où, l'on doit plus hésiter, où l'on doit écouter son instinct, ce que l'on nous a enseigner, inscrit en nous... Ce peut-être une langue maternelle, un ou deux gestes enchaînés, un don d'observation...
Un outil pour les voyages...
Baptiste Vanweydeveldt,2019

About this artwork: Classification, Techniques & Styles

Other

Charcoal

Drawing made with a branch of Willow or charcoal of charred Europe. It enables to obtain very deep blacks, precise traces, thin or on the contrary very broad, depending on the way it is used.

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.

Outsider Art

Invented by Jean Dubuffet (1901-1985) in 1945, the idea is to create works with primitive graphics that take no academic reference into account. He will also advise to "draw like a child" and encourage self-taught artists.

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.