L'homme perdu, Rencontres au désert, (2018) Drawing by Véronique Lorimier

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  • Original Artwork (One Of A Kind) Drawing, Pencil on Paper
  • Dimensions Height 15.4in, Width 37in
  • Framing This artwork is not framed
  • Categories Outsider Art
Ce dessin au crayon de couleur sur papier est la troisième étape de la bande dessinée "L'homme perdu". L'ensemble de la bande dessinée est, sur mon site, à la suite des quatre images qui la composent sur la galerie: "L'homme perdu". Se reporter au texte qui est porté sous cette image totale. [...]
Ce dessin au crayon de couleur sur papier est la troisième étape de la bande dessinée "L'homme perdu". L'ensemble de la bande dessinée est, sur mon site, à la suite des quatre images qui la composent sur la galerie: "L'homme perdu". Se reporter au texte qui est porté sous cette image totale.

Related themes

Néo-FiguratifNéo-BdArt SingulierDessin OniriqueRêverie

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Véronique Lorimier is a French artist born in 1959. Since 2012, her artistic work consists almost exclusively of short, enigmatic comics from her dreamlike universe. She draws, mainly with colored[...]

Véronique Lorimier is a French artist born in 1959.

Since 2012, her artistic work consists almost exclusively of short, enigmatic comics from her dreamlike universe. She draws, mainly with colored pencil on paper, small phantasmatic scenes that draw their origin from a deep anxiety, from a prolix and invasive imaginative life, but also from a hope affecting her imaginary representations.

Véronique Lorimier obeys an incoercible spiritual and psychic movement. Her plastic creation takes place in the movement of Outsider Art, singular art or naive art.

His art borrows from the tradition of the narrative in images. His drawings are based on popular iconography, illuminated tales such as the "Miraj Name or the journey of the Prophet" in the tradition of Iran and Central Asia since the Middle Ages. The "Red Book" of C.G. Jung also inspires her works. Véronique Lorimier is inspired by the primitive drawings of Mexican art, where scenes of rural life and fantastic reality from a shamanic culture are told. Each of her drawings is like a hole that she pierces in the crust of her apparent life, to let escape the gases of a dream world.

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