In a situation of balance (2013) Textile Art by Julie Sarloutte

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Brand: ARTMAJEUR
Rating: 4.9 (8711 reviews)

Textile Art, 11.8x7.9 in

$582.67

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This artwork appears in 2 collections

Original Artwork Textile Art, Textiles

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 11.8in, Width 7.9in
Categories Textile Arts under $1,000 Figurative

Needle painting About this artwork: Classification, Techniques & Styles Figurative Figurative and colorful painting having taken the liberty of including[...]

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Julie Sarloutte

France

Julie Sarloutte is a painter; but, in his work, no oil or acrylic is spread on the canvas. The cotton skeins used for the so-called “pulled thread” embroidery technique are replaced by turpentine[...]

Julie Sarloutte strolls on the Internet, watches television: from the visual abundance emanating from the screens, she extracts fragments, frozen images, which she selects for their strangeness or their ambiguity. Are we looking here at an image from a TV report about a violently suppressed protest or a scene from a popular series?

The artist, far from claiming to make these real or fictional quotes a political and committed project, conversely claims the position of witness. The one behind the screen, jointly worried and fascinated by the flow of flitting images.

Julie Sarloutte chooses to transform these stills fragmenting a narration into iconic images, and the chosen fraction of a second is transformed under her fingers into slow and meticulous embroidery. The television images regain density through the accumulation of cotton threads, which make the flesh slightly dirty or reddened. Who would like to see this last technique as a nostalgic return to a grandmother's practice would be seriously mistaken. Julie Sarloutte stings and pierces her canvas, her fingers (sometimes) and the faces of the characters she represents, without great complacency towards her models. Witness, for sure, but without inertia.